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PRACTICAL  ELOCUTION: 


FOR    USB   IN 


G©lle(iGS  and  ^SGh©©IS 


PRIVATE   STUDENTS. 


J.  W.  SHOEMAKER.  A.  M.. 

Late  President  of  the  National  School  of  Elocution  ana  Oratory 


ENLARGED 

WITH  A  WIDE  VARIETY  OF  SELECTIONS  FOR  PRACTICE. 


We  could  not  allow  him  an  orator  who  had  the  best  thoughts, 
and  who  knew  all  the  rules  of  rhetoric,  if  he  had  not  acquired  the 
art  of  using  them. — Dryden. 


Philadelphia 

The  Penn  Publishing  Company 

1898 


Ktili.Tc<1,  iicc-iiriliiij;  to  Act  of  Conjfress,  in  the  year  1S78,  by 

.r.  W.  SHoEMAKKK. 
in  'lie  oilii-e  i>(  the  Liltranun  ol  Coiifires};,  at  Washington. 


Copyright,  1886,  by  Tiik  Nationai.  Schoui-  of  Elocution 
AND  Oratory 


The  following  Belections  rtre  ii^ed  by  permlsBlon  of,  and  ar- 
rangement with,  Mesbi-.s.  ll<jiiglu(jn,  Mililiii  &  Co  ,  the  puhlishers. 

Sand;ilph(jn II.  W.  Longfellow 

The  Bovs <).  W.  Holmes 

M:u>ter8  of  the  Hituiition James  T.  Fields 

Pictures  of  Memory Alice  Car r 

()r[thiMi.s  and  Eiirydice ().  W.  JloJnies 

An  Extract  from  Snow-Bound    .   .   .    .  J.  G.  Whittier 


Practical  Elocution 


S66P 


fa  [\\t  %i\\k\\\!h 


NATIONAL  SCHOOL  OF  ELOCUTION  AND  ORATORY. 


TO    WHOSE 


Enthusiasm,  Faithfulness  and  Loyalty 

THE   AUTHOR    IS   INDEBTED    FOR  SO   MUCH  STRENGTH   AND 
INSPIRATION    IN   HIS   WORK, 

AND   WHOSE   MEMORY   HE  CHERISHES  WITH 
NEXT  TO  A  PARENT'S   LOVE, 

THIS  BOOK 
IS  AFFECTIONA  TEL  Y  INSCRIBED. 


1133777 


PREFACE. 


The  study  of  Elocution  and  Oratory  was  pursued  to  a  very 
high  degree  by  the  ancients,  and  is  therefore  an  old  study. 
It  was,  however,  so  nearly  lost  as  a  distinctive  branch  ot  cul- 
ture, and  it  received  so  little  attention  foi  many  succeeding 
centuries  that  it  may  be  very  justly  termed  a  modern  science. 

It  was  the  original  design  of  the  author  to  prepare  for  the 
use  of  the  National  School  of  Elocution  and  Oratory,  an 
outline  of  principles  embodying  his  system  of  instruction, 
and  to  furnish  the  students  of  the  institution  a  text  for  their 
future  personal  or  public  work.  The  rapidly  increasing  de- 
mand, however,  for  a  more  extended  exposition  of  these 
principles,  and  for  a  copious  collection  of  appropriate  exer- 
cises, together  with  the  urgent  request  of  many  students 
and  educators  throughout  the  country,  has  led  to  the  pub- 
lication of  "  Practical  Elocution." 

Now  that  the  work  has  been  completed,  and  is  about  to  go 
forth  on  its  mission,  we  are  led  to  realize  more  deeply  than 
ever  how  little  of  the  sjiirit  can  go  along  with  the  letter — how 
litde  of  the  inspiration  which  the  true  teacher  should  impart, 
can  accompany  the  monotonous  lines  of  the  printed  page. 
We  do  not  believe  any  theory  can  substitute  for  the  living 

vii 


presence  of  the  teacher.  Tlic  theory  of  Elocution  can  no 
more  protUice  pood  readers  and  speakers  than  the  theory  of 
music  will  make  good  siiij^ei's  or  exi)erts  on  the  instrument; 
yet  correct  principles  may  so  direct  the  student  away  from 
error,  and  towards  the  irulh,  and  may  furnish  to  the  teacher 
Buch  resources  in  methods  and  exercises  as  would  require 
years  of  time  to  arrange  for  himself. 

Elocution  will  not  suhstitute  for  intellect;  neither  will  it 
furnish  material  for  the  mind  any  more  than  gold  will  buy 
material.  It  will  not  provide  thought.  It  will  not  even  prf)- 
vide  vehicles  or  words,  so  necessary  to  the  discussion  and 
exchange  of  thought.  Ita  work  is  to  give  principles  and 
direction  for  the  management  of  thought  after  it  has  been 
furnished  and  clothed.  Knowledge  is  capital,  only  valuable 
as  it  is  available,  and  Elocution  is  the  great  natural  means 
of  rendering  knowledge  available. 

Spoken  language  may  he  said  to  bear  three  distinct  relations  to 
the  signification  of  the  words  ivhich  enter  into  it. 

First. — A  sentiment  may  be  so  uttered  as  to  weaken  or 
pervert  the  simple  meaning  of  the  words.  Wanting  in  the 
nc'-essary  force,  emphasis  misplaced,  or  modulation  disre- 
garded, the  words,  though  possessing  volumes  of  thought, 
may  be  rendered  almost  void  of  meaning. 

Second. — The  sentiment  may  be  so  spoken  as  to  leave  its 
plain  meaning  unaffected,  neither  adding  to  or  taking  froni 
tlie  mere  signification  of  the  words.  The  listener,  hearing, 
and  being  familiar  with  the  words,  obtains  an  intellectual 
knowledge  of  the  thought  expressed.  He  is  impressed  with 
the  words  only  to  the  degree  that  he  is  interested  in  the 
tViought.  There  is  jiothing  in  the  presentation  to  attract  his 
attention,  or  that  will  awaken  interest  within  him.  Had  he 
seen  the  words  in  the  skeleton  forms  of  wntten  language,  the 
efTect  would  have  been  the  same  They  have  been  presented 
to  his  sense  alone. 

Third. — Tlie  same  sentiment  may  be  spoken  so  that  it  shall 
not  only  ''rpress  the  idea  indicated,  but  that  it  shall  impress 
that  idea  upon  the  mind  and  heart.    Under  this  character  of 


PREFACE.  IX 

utterance  we  Bupplement  the  form  of  words  with  their  power, 
investing  the  mere  passive  clay  with  the  life-giving  principle 
which  sliall  send  it  forth  an  active,  aggressive  influence. 

This  we  believe  to  be  the  original  and  legitimate  design  of 
speech.  It  could  not  have  been  the  purpose  of  the  Creator 
that  this  marvellous  faculty  should  perform  the  service  of  a 
mere  dead  machine.  Correct,  cultivated  utterance  gives 
emphasis  and  spiritual  effect  to  written  language. 

In  the  following  pages  the  attention  of  teacher  and  student 
has  been  directed  prominently  to  the  study  of  natural  speech 
as  revealed  by  Conversation.  It  is  believed  that  we  may  here 
find  nature  most  true,  however  crude,  and  that  we  may  obtain 
from  her,  models  and  inspiration  for  the  more  exalted  con- 
ditions of  speech.  Spoken  language  finds  its  original  and 
simplest  forms  in  conversation. 

The  conditions  of  mind  and  body  in  ordinary  conversation 
are  best  adapted  for  the  study  of  our  own  individuality.  We 
cannot  study  self  when  on  exhibition.  We  dress  up  for 
strangers.  We  spend  much  time  and  means  to  prepare  our 
bodies  for  distinguished  company,  not  always  with  the  most 
happy  eflect.  Sometimes  it  results  in  such  a  perversion  bf 
our  natural  appearance  as  to  give  offence  rather  than 
pleasure.  So,  in  the  expression  of  our  thoughts,  voice  and 
manner  are  modified  by  tlie  presence  of  the  multitude,  and 
sometimes,  upon  great  occasions,  they  are  so  perverted  as  to 
lose  all  that  is  natural  and  impressive.  Thus  thousands  fail 
of  their  just  merit  in  presenting  themselves  to  strangers.  In 
the  effort  to  be  natural  they  become  unnatural.  In  their 
attempt  to  represent  themselves  for  what  they  are  not,  they 
fail  to  receive  value  for  what  they  are.  Nature  may  be 
pruned,  cultured  and  directed,  but  we  cannot  substitute  it.^^ 
I  will  always  be  stronger  as  myself  than  I  can  be  as  any  j 
one  else,  and  as  we  represent  ourselves  most  through  our  ( 
words,  we  should  in  our  words  be  most  true  to  ourselves./ 
We  should  study  ourselves  and  seek  our  examples  from  that 
condition  where  true  nature  is  least  modified.  This  condi- 
tion we  believe  to  be  that  of  conversation  with   our  intimate 


X  rRACTICAT.  ETXDCUTTON. 

frioiids.  Conversation  may  be  most  faulty  and  corrupt,  yet 
wo  will  find  in  it  a  harmony  with  our  <iwn  natures,  and  con- 
stantly recurriiiii;  lij^hts  and  shades  of  natural  expression  that 
may  serve  as  models  for  study  and  imitation,  such  as  we  can 
S\nd  nowhere  else  in  the  whole  range  of  utterance.  But  it  is 
Hot  sudii-ient  to  find  the  f/crnm.  Thoy  must  bave  growth 
anil  maturity.  The  work  of  culture  and  development  pre- 
cedes the  eflicient  use  of  all  our  faculties.  Man,  in  the  crea- 
tion of  his  own  heing,  is  made  a  partner  with  (Jod.  We  are 
co-workers  with  God  in  self-construction.  He  gives  us  the 
plastic  material,  with  directions  or  laws  for  its  use,  condi- 
tioning the  result  of  the  work  upon  the  application  of  those 
laws. 

It  is  better  to  develop  our  own  faculties,  though  inferior, 
rather  than  to  attempt  to  appropriate  another's.  Our  own 
will  serves  us  better,  because  designed  for  us  by  the  Creator, 
and  hence  in  harmony  with  our  being.  God  will  hold  us 
lesponsible  for  the  talents  He  has  given  us.  He  does  not 
ask  that  we  buy  or  borrow,  but  demands  increase  through 
i'uUure  and  development.  The  expression  of  thought  and 
feeling,  therefore,  should  be  ir^  the  simplest  and  purest  har- 
mony with  tlie  elemcnt.s  of  our  individual  nature.  But  how 
to  find  our  true  nature  may  prove  our  most  difficult  task. 
We  have  been  so  misdirected  that  there  has  grown  upon  us 
by  observation  and  contamination,  such  a  coating  of  man- 
ners and  habits  foreign  to  the  original,  and  Ave  have  acted  so 
long  in  sympathy  with  this  accumulated  surface  that  we  may 
hardly  recognize  our  true  selves.  We  have  so  long  followed 
the  untrue  that  we  may  hardly  know  the  true.  We  have  so 
long  a-ssociated  with  this  outer  that  we  fail  to  comprehend 
the  inner.  Hahit  has  become  so  fixed  as  to  constitute  a  second 
nature,  and  close  analysis  becomes  necessary  that  we  may 
draw  the  lines  between  our  own  nature  and  this  accumulated 
or  borrowed  nature.  Our  first  work,  then,  is  to  distinguish 
the  true  from  the  false,  tlie  original  from  the  borrowed, 
nature  from  habit,  that  we  may  develop,  each  in  himself,  the 
original  creation,  rather  than  the  warped  and  distorted  crea- 
tion of  our  ewn  hands. 


PREFACE.  xl 

The  author  would  here  make  grateful  acknowledgment  of 
he  assistance  he  has  received  in  the  preparation  of  this 
work  by  those  directly  associated  with  him  in  the  Institution 
over  which  he  presides,  Mrs.  Shoemaker,  Prof.  J.  H.  Bechtel, 
and  Prof.  R.  O.  Moon,  have  furnished  him  the  fruit  of  their 
investigations  in  the  several  departments  which  they  repre- 
sent, and  are  worthy  of  more  prominent  mention  than  he 
can  here  afford  them.  He  does  not  fori;et  the  many  friends 
to  whom  he  is  indebted  for  suggestive  help,  for  counsel, 
and  for  encouragement. 

That  "Practical  Elocution  '  may  contribute,  in  some 
degree,  to  the  elevation  of  a  noble  art,  has  been  the  aim, 
and  remains  the  earnest  hope  of  the  author. 

J.  W.  S. 

Philadelphia,  September  2d,  1878. 


Explanatory  Note. — The  reference  to  the  sever*!  nnnibpre  of  *b^  F-locu- 
tionist's  Auuual  for  additional  examples,  h.as  been  niadff  for  the  advantage  of 
students  and  others  who  may  use  that  series  in  connection  with  this  volume. 


CONTENTS. 


Introfluction, 

Outline  of  Klocution  and  Analysis  of  Principles 

Explanation  of  the  Outline, 
Definition,  ..... 

Iiupoi'tance,  .... 

Ill  Physical  Development,      ... 
Ill  Social  Life,  .  , 

la  Business  Life,       ,  .  .  , 

In  Public  Life, 

CONVERSATION, 

Vtit  its  own  sake,  .... 

rxamples,  .... 

In  its  relation  to  Reading,      .  ,  . 

In  i(s  i«latiou  to  Falilic  Address,  . 

PRINCIPLES. 
Speech,  ..... 

Voice,  .  •  .  .  , 

Pliilosophy  of  Voice,  ,  ,  . 

Utteranct,  .  ;  .  , 

Development,  .  .  .         i      , 

Breathiflg_  .  .  .  .     • 

Exeic5s<;o,  .  .  •         i     • 

Vocal  Exe.Liies,  .  .  • 

Table  of  V'>ciil  <;xercise«,  .  , 

Examplos,  .  ,  . 

Gymnastics,  .... 

Exercises,  ... 

Quality,  ..... 

Pure,  .... 

Simple  Pure, 

Examples,  . 

Orotund,  ;  . 

Examples  ', 

Impure,  ,  . 

Pectoral,  , 

Examples,  ,  . 


(Diagram), 


•For  full  A'.phabetJLai  Index,  see  page  195. 


XIU 


riv 


CONTEXTS. 


Guttural, 

Exaiuplos, 
Aspirated, 

Exainplos, 
Falsotto, 

Examples, 
Articulation, 

Cliissiticatlnn, 

Table  of  Elementary  Souuds, 

Exercises, 
Kxprossion, 
Mudiilatioii, 
Quality, 
I'itcli, 

Examples, 
Force, 

Examples, 
Time, 

Rate, 

Example*, 

Quantity, 

Examples, 

Pause,         , 

Examples, 
Slides, 

Examples, 
talesture, 

roaitioD, 

Movements  of  the  Body, 

Examples,  . 

Facial  Expression, 

Examples, 


METHODS  OF  INSTRUCTION 


Theory, 

Outline  of  Methods, 
Primary, 

Ailvanced,  •  . 

Appendix,  . 

Miscellaneous  Suggestions, 
Emplia8i.s, 

Miscellaneous  Vocal  Exercises, 
I>aughtcr, 

Bilile  Reading,  .  , 

Sound  to  Sense,  . 

Transition,  ,  , 

Analysis,  .  , 

Repose,       .  ,  . 


CONTENTS. 


SELECTIONS  FOR  PRACTICB. 


FAGE 

Sandalphon Longfellow 197 

Echo  and  Narcissus, Thomas  Bulflnch 199 

Lady  Clara  Vere  de  Vere Alfred  Tennyson 202 

Massachusetts  and  South  Carolina, Daniel  Webster 204 

How  They  Brought   the  Good    News   from 

Ghent  to  Aix, Robert  Browning 207 

Othello's  Apology Shakespeare 209 

Paul  Before  King  Agrippa, Bible 211 

Nightfall, W.  W.  Elhwnrth 21S 

Catiline's  Defiance, George  Croly 215 

The  Honored  Dead H.  W.  Beecher 217 

The  Voice  in  the  Twilight, 3Irs.  Herrick  Johnson  .  .  .  219 

The  Boys, 0.  W.  Holmes 222 

Masters  of  the  Situation, James  T.  Field 223 

Kentucky  Belle Constance  Fenimore  Woolson.  226 

Trust, DeanAlford 232 

The  Loss  of  the  Arctic, II.  W.  Beecher 233 

The  Cataract  of  Lodore Robert  Southey 236 

Your  Mission, 238 

Our  Duties  to  Our  Country, Webster 239 

Marmion  and  Douglas, Sir  Walter  Scott 240 

Pictures  of  Memory, Alice  Cary 242 

Cassius  Against  Csesar, Shakespeare  .   ■ 244 

Tact  and  Talent London  Atlas 246 

God's  First  Temples W.  C.  Bryant 248 

The  Nature  of  True  Eloquence, Daniel  Webster 251 

Orpheus  and  Eurydice John  6.  Saxe .  252 

A  Welsh  Classic, H.  H.  Ballard 256 

Kulogy  on  O'Connell, W.a.  Seward 258 

XV 


XVI  CONTENTS. 

PAGE 

A  Man's  a  Man  for  a'  That, Robert  Burns L'GO 

ThcSalliiiKof  KingOlaf, Alice  WUliams  Urolherton  .  261 

Supposed  Sjieech  of  John  Adams  on  Uic 

Declaration  of  Independence Daniel  Kchstcr 2G5 

The  Clown's  Baby 208 

Extract  from  a  Eulogy  on  (jeneral  Grant,    .  .  J.  i:  Knnnan 271 

"  Bay  Billy," I-'rank  11.  Gassaway  ....  273 

Words  on  Language 0.  JC.  IJolma 277 

An  Kxtratt  from  Snow-Boiind, J.  G.   WliiUicr 279 

John  Bunyan Macaulay 281 

Lochinvar's  Uide, Sir  Walter  ScoU 282 

The  Two  Roads, Jean  Paul  Riclder 281 

The  Revolutionary  Rising Tliomm  Buchanan  Head  .  .  286 

A  rx)st  Chord Adelaide  Anne  Proctor    .  .  289 

The  American  War, Pitt 290 

The  Glass  Railroad, Geonje  Lippard 291 

Guide  me  O  Thou  Great  JchoTah  ! W.  Williams 291 

In  the  Cross  of  Christ  I  Glory, J.  Bowring 295 

Jesus !  Lover  of  My  Soul C.  Wesley 295 

My  Country !  'Tis  of  Thee S.  F.  Smith 297 

Matthew  XXV, 298 

Psalm  XCI 301 


INTRODUCTION, 


Elocution,  from  eloqui,  to  speak  out,  to  express, 
(e,  out ;  and  loqui,  to  speak,)  as  now  applied, 
contemplates  the  whole  art  of  conveying  thought 
through  the  organs  of  the  body. 

Before  entering  directly  upon  the  study  of  this 
subject,  we  may  receive  a  worthy  inspiration  in  con- 
sidering the  broad  and  abundant  opportunity  which 
opens  to  us.  Elocution  concerns  the  commerce  of 
mind  and  soul.  As  such,  it  involves  the  capability  on 
the  part  of  the  student  to  comprehend^  to  appreciate^ 
and  to  communicate  thought  and  emotion.  To  this 
end,  he  needs  the  best  of  all  his  powers.  It  is  only  the 
voice  that  has  reached  its  best,  and  the  eye  that 
beams  from  the  soul^  and  the  hand  of  gracc^  and  the 
attitude  of  manhood  and  loomanhood^  that  can  convey 
the  immortality  which  has  been  breathed  upon  us. 

By  sin  these  powers  have  been  enfeebled  and 
deformed  and  under  its  burden  tlieir  deformity 
increases.  Guarded  and  regulated  by  the  laws  of 
our  creation,  they  may  be  rescued  and  made  poten- 
tial in  conveying  the  very  mind  of  the  Creator. 

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PiUOIICAL  ELoCUTIGir. 


DEFINITION. 


Elocution  relates  to  manner  or  style  in  speaking. 
Good  Elocution  consists  in  the  natural  expression 
of  thought  by  speech  and  gesture. 

Note  1.  Natural  must  l)e  iinderstood  as  applying  to  o".!r 
highcr^t  or  God -nature,  and  should  be  carefully  disliuguishcd 
from  habit  or  second  nature. 

Note  2,  The  term  expression  is  strengthened,  if  understood 
to  include  conveyance  or  passage,  as  of  a  body  from  one 
i^lace  to  another. 

Note  3.  Thoufjlit  has  here  its  broadest  application,  and 
eignilies  feeling  and  passion  as  well  as  sentiment.  We  should 
convey  not  only  the  idea  contained  in  the  thought,  we  should 
also  convey  the  impression  made  upon  lis  by  the  thought. 

Note  4.  Speech  covers  every  intelligent  nse  of  the  organs 
of  speech,  articulate  and  inarticulate,  whispered  and  vocal. 

Note  5.  Gesture  concerns  position  and  facial  expression, 
as  well  as  movements  of  the  body. 

Note  6.  Thus  it  will  be  seen  that  correct  elocutionary 
training  is  the  subordination  of  tlie  entire  i>hysical  being  to 
the  service  of  mind  and  spirit,  thought  being  the  product  of 
the  inner  or  spiritual  nian,  and  speech  and  gesture  its  natural 
outlet  through  the  exterior  or  physical  man. 


IMPORTANCE.  21 


IMPORTANCE. 


IN  PHYSICAL  DEVELOPMENT. 

Elocution  calls  into  play  the  most  vital  organs  of  the 
human  body,  the  correct  use  of  the  voice  constituting  an 
important  source  of  grace  and  strength  to  these  organs. 

It  will  demand  correct  posture  and  proper  habits  of  res- 
piration ;  it  will  afford  healthful  exercise  to  the  throat  and 
lungs ;  it  will  bring  the  intercostal  muscles  into  vigorous 
action;  it  will  give  natural  stimulant  to  the  circulation,  so 
tiiat  the  organs  of  digestion  and  the  entire  physical  system 
participate  in  the  benefit. 

It  is  justly  claimed  that  no  other  exercise  will  call  forth 
so  natural  and  uniform  an  action  of  the  whole  system,  as  the 
proper  exercise  of  the  voice. 

IN  SOCIAL,  LIP^. 

It  is  in  social  life  that  we  mould  character,  and  exert  thr 
most  lasting  influences.  These  influences  are  exerted  through 
word  and  deed.  Word  and  deed  receive  their  character,  in 
a  great  degree,  through  voice  and  manner.  We  will,  there- 
fore, render  our  influence  agreeable  and  effective,  largely 
in  proportion  as  the  voice  and  manner  are  pleading  and 
attractive. 

Temperament,  disposition  and  motive  will  be  measured 
by  their  outward  expression.  If  this  expression  is  coarse, 
abrupt,  and  unattractive,  the  inner  life  will  be  exposed  to  a 
corresponding  verdict ;  and  in  proportion  as  this  expression 
becomes  natural  and  refined  will  the  verdict  be  changed. 


TJ  li; Ai  rii'AI,    KLOCITIOX. 

Our  liappinoss  and  tiscfuliiess,  therefore,  in  the  social  rela- 
tions must  tlei)PUil  {^rc'iilly  n\)on  the  culture  of  these  qualities. 

It  is  further  iniportanl,  hccauso  our  social  relations  include 
our  best  friends,  and  they  should  receive  from  ua  the  best  we 
hav(\  and  in  our  l>est  manner. 

IN  BUSINESS  LIFK. 

Other  thini^s  heincj  equal,  a  man  will  .succeed  in  husines* 
largely  as  he  can  address  himself  u])on  his  wares,  be  they 
mechanical,  physical,  mental  or  moral. 

He  will  succeed  through  the  capability  of  winning  atten- 
tion to  his  business. 

The  same  power  which  gives  influence  in  the  social  sphere, 
will  attract  to  our  business  operations. 

Character  of  tone  and  dignity  of  manner  will  reflect  re- 
liability upon  our  vocation  or  profession. 

IN  PUBLIC  LIFE. 

It  will  enable  us  to  give  accuracy  and  fulness  of  meaning 
to  our  words,  and  to  convey  the  spirit  of  the  thought  to  the 
hearer. 

Words  are  but  the  dead  forms  of  thought.  The  human 
voice  may  breathe  into  them  the  breath  of  life  and  make 
them  living  influences. 

Elocution  will  give  that  culture  by  which  we  may  pleas© 
the  eye  and  the  ear,  so  that  our  words  shall  be  presented 
favorably  to  the  judgment.  It  will  also  add  that  force  and 
dignity  to  expression,  and  that  confidence  of  manner  which 
will  command  the  multitude. 

A  single  sentence  may  be  the  exponent  of  j'ears  of  studj 
and  experience,  and  it  is  possible  only  by  the  most  careful 
practice  in  the  art  of  expression  to  pronounce  such  a  sen- 
tence with  corresponding  effect. 


a)NVERSATIOH.  2.8 


CONVERSATION. 


Conversation  is  the  simplest  .and  most  common. form  <o( 
human  expression. 

It  contains  the  germs  of  all  spc<ech  and  action,  and  therefore 
constitutes  the  basis  of  oratorical  and  dramatic  delivery.  Wo 
exercise  these  germs  of  speech  and  action  most  in  conver- 
sation; it  is  therefore  natural  that  we  should  here  form  our 
most  permanent  habits  of  expression. 

These  liahiis  Avill  control,  not  only  our  conversation,  hn^,  as 
hereafter  shown,  they  will,  in  a  great  degree,  afTect  our 
reading  an^puhUe  address. 

The  imi^ortance,  therefore,  of  acquiring  in  the  common 
intercourse  of  life,  correct  habits  of  voice  and  manner  cannot 
be  overestimated.    Hence,  the  consideration,  first,  of 


CONVERSATION  FOR  ITS  OWN  SAKE. 

No  higher  art  is  possible  to  man  than  the  art  of  transmit- 
ting, naturally  and  effectively,  in  common  intercourse,  tho 
sentiments  and  feelings  of  which  he  is  capable. 

This  art  includes  chaste  and  appropriate  languar/e,  and 
grace  and  variety  of  7nanner,  as  well  as  the  p'U'ity  and  adap- 
tation of  speech.     It  is,  however,  only  the  latter  phase  of  the 


24  riJAilICAl,    KUOCUTIUN. 

subjoft  that  will  cuuccrn  us  in  thi.s  treatment,  namely,  corrrd 
gprrch.  To  this  end,  the  student  should  secure  the  criticism 
of  the  oar  upon  his  own  and  others'  Conversation,  by  atten- 
tion— 

a.      TO  THE  VOICE. 

h.      TO  THE  ARTICULATION. 

C.      TO  THE  EXPRESSION. 

Voice, — The  Voice  should  be  natural,  pure,  and /uU. 

Note. — Tlic  long  vowel  sounds,  marked  "Naturally,"  as  given  in  tho  table 
of  "  Vocal  Exercises,"  and  such  Conversational  Sentences  as  are  here  given, 
should  be  carefully  practiced. 

Articiikdion. — The  Articulation  should  be  correct  and  distinct. 

Note. — Master  the  table  of  Elementary  Sounds  and  practice  the  varioui 
accompanying  exercises. 

Expression. — The  Expression  should  be  adapted  to  the  senti- 
ment. 

Note. — The  intelligent  student  will  readily  discover  some  of  the  leading 
relations  of  sound  toscnse;  such,  for  instance,  as  that  of  gayety,  solemnity, 
pathos,  Ac.  Attention  to  these  in  practice,  will  lead  to  the  discovery  of  other 
and  closer  relations,  until  every  sentiment  will  suggest,  promptly,  its  corres- 
ponding tone. 

Pl'mm.\ry. — Voice,  Articulation,  and  Expression,  as  her© 
defined,  may  be  termed  the  a,  b,  c  of  speech. 

SUGGESTION  TO  STUDENTS. 

Every  observing  student  will  be  able  to  detect  errors  with 
rt'fcrence  to  the  several  points  here  named.  His  ear  will  be 
Kiifriciently  critical  to  distinguish  one  or  more  of  the  many 
faults  common  to  conversational  voice.  He  will  also  detect 
sliLjrjishness  of  articulaiion  and  the  habitual  use  of  incorn  et 
sounds.  He  will  perceive,  to  some  degree,  or  in  some  particu- 
lar, a  want  of  adaptation  to  the  sentiment  expressed.  In 
other  words,  liis  knowledge  is  beyond  his  practice,  and  no 
more  important  counsel  can  be  given  upon  this  subject  than 
the  following: 


CONVERSATIONAL  EXERCISES.  25 

1.  Listen  to  your  conversation  with  reference  to  the  several 
elements  named. 

2.  Correct,  in  conversation,  that  which  you  knoto  to  be 
faulty. 

3.  Alloiv  no  occasion  to  be  so  xmimportant  as  to  admit  oj 
loose  or  incorrect  speech. 

By  this  practice,  the  ear  will  ohserve  the  speech  of  those 
more  correct  than  yourself,  and  will  load  you  to  discover  more 
and  more  closely  your  habitual  faults,  and  thus  to  elevate 
and  purify  your  conversation. 

CONVERSATIONAL  EXERCISES. 

These  exercises  represent  a  broad  variety  of  conversational 
styles  and  should  be  carefully  practiced  with  reference  to  the 
voice,  the  articulation  and  the  expression,  according  to 
the  preceding  treatment. 

1.  "Good  morning,  Mr.  Jones,  I  am  glad  to  see  you.  When 
did  you  arrive  in  the  city  ?  " 

"  I  came  in  by  the  last  train." 

"  I  hope  you  left  your  family  well." 

"Very  well,  thank  you." 

"  You  will  call  upon  us  before  you  go  back  ?  " 

"  I  will,  thank  you." 

"Good  morning,  sir." 

"  Good  morning." 

2.  Is  John  at  home? 
Is  your  father  well? 
When  will  you  go  ? 
What  is  your  name? 
What  time  have  you? 

Did  you  arrive  by  the  night  train? 

Have  you  to-day's  paper? 

What  is  the  news? 

Did  you  see  our  mutual  friend,  Mr.  Wilson  ? 

Have  you  been  well?    You  look  ill. 

NoTF,. — The  practice  of  questions,  such  as  these,  will  be  found  of  great  ad- 
vantage in  gainiuig  natural  expression.  They  should  be  varied  in  emphasis  and 
inflection. 


•*>  rKACrit  AL   Kl.UCl'TluN. 

.'^.  Wp  liavo  demonstrations  enough,  fortunately,  to  sho\? 
tlijit  truth  iiloiir  is  not  suflicient;  for  truth  is  the  arrow,  but 
man  is  tlio  how  that  sends  it  homo.  Thcio  he  many  men 
who  are  tho  light  of  the  j)ulj)it,  whose  Ihouglit  is  protouiul, 
whoso  NMining  is  universal,  hut  whose  ofHcesarc  unspeakably 
ilull.  Tliey  do  make  known  the  truth,  but  without  fervor, 
without  grace,  without  beauty,  without  inspiration  ;  and 
diseoui-se  upon  discourse  would  fitly  be  called  the  funeral  oj 
important  subjects!  — Henry  Ward  Beecher. 


4.  And  he  said,  A  certain  man  liad  two  sons  :  and  the 
yoiuiger  of  thenx  said  to  his  father.  Father,  give  nie  the  por- 
tion of  goods  that  falleth  to  me.  And  he  divided  unto  them 
his  living.  And  not  many  days  after,  the  younger  son  gathered 
all  together,  and  took  his  journey  into  a  far  country,  and 
there  wasted  his  substance  with  riotous  living.  And  when 
he  had  spent  all,  there  arose  a  mighty  famine  in  that  land ; 
and  he  began  to  be  in  want. — Luke  xv :  11-14. 


5.     Hamlet.     Hold  you  the  watch  to-night? 

All.  Wc  do,  my  lord. 

Ham.     Arm'd,  say  you  ? 

AU.  Arm'd,  my  lord. 

//'/'".  From  top  to  toe? 

All.     ^ly  lord,  from  head  to  foot. 

Hmn.  Then  saw  you  not  his  face? 

Hnr,     O,  yes,  my  lord  ;  he  wore  his  beaver  up. 

Hum.     What,  look'd  he  frowningly? 

Hor.  A  countenance  more 

in  sorrow  than  in  anger. 

Ham.  Pale,  or  red? 

][or.    Nay,  very  pale. 

Him.  And  fix'd  his  eyes  upon  you? 

Hor.     Most  constantly. 

Ham.  I  would,  I  had  been  there. 

Hnr.     It  would  have  much  amaz'd  you. 

Hnm.  Very  like, 

Very  like:     Stay'd  it  long? 

Ifor.     While  one  with  moderate  haste  might  tell  a  hiuidred 

JImn.     His  beard  was  grizzl'd?  no? 

Hor.     It  was,  as  I  have  seen  it  in  his  life,  a  sable-silver'd. 

Ham.  I  will  watch  to-night  ^ 

Perchance,  'twill  walk  again. — Shakespeare. 


CX)NVERSATIONAL   EXERCISES.  27 

6.  "  It  T.'on't  do  to  let  John  see  me  in  this  position,"  I  said , 
and  so,  with  a  mighty  effort,  I  disengaged  myself  from  the 
pack,  flung  off  the  blanket  from  around  my  neck,  and  seizing 
hold  of  a  spruce  limb,  which  I  could  fortunately  reach,  drew 
myself  slowly  up.  I  had  just  time  to  jerk  the  rifle  out  of  the 
mud,  and  fish  up  about  half  of  the  trout,  when  John  came 
struggling  along." 

"John,"  said  I,  leaning  unconcernedly  against  a  tree,  as  if 
nothing  had  happened, — "  John,  put  down  the  boat,  here's  a 
splendid  spot  to  rest." 

"  Well,  Mr.  Murray,"  queried  John,  as  he  emerged  from 
under  the  boat,  "  how  arc  you  getting  along  ?  " 

"  Capitally !  "  said  I ;  "  the  carry  is  very  level  when  you 
once  get  down  to  it.  I  felt  a  little  out  of  breath,  and  I 
thought  I  would  wait  for  you  a  few  moments." 

"What's  your  boots  doing  up  there  in  that  tree?"  ex- 
claimed John,  as  he  pointed  up  to  where  they  hung  dangling 
from  the  limb,  about  fifteen  feet  above  our  heads. 

"Boots  doing!"  said  I,  "why,  they  are  hanging  there, 
don't  you  see?  You  did'nt  suppose  I'd  drop  them  into  this 
mad,  did  you?  " 

"Why,  no,"  replied  John,  "I  don't  suppose  you  would; 
but  how  about  this?"  continued  he,  as  he  stooped  down  and 
pulled  a  big  trout,  tail  foremost,  out  of  the  soft  muck ;  "  how 
did  that  trout  come  there?  " 

"  It  must  have  got  out  of  the  pail  somehow,"  I  responded. 
"  I  thought  I  heard  something  drop  just  as  I  sat  down." 

I  thought  John  would  split  with  laughter,  but  my  time 
came,  for  as  in  one  of  his  paroxysms  he  turned  partly 
around,  I  saw  that  his  back  was  covered  with  mud  clear  up 
to  his  hat. 

"Do  you  always  sit  down  on  your  coat,  John,"  I  inquired, 
"when  you  cross  a  carry  like  this?  " — W.  H.  H.  Murray. 


7.  Now  the  laughing,  jolly  Spring  began  to  show  her 
buxom  face  in  the  bright  morning.  Tlie  l)uds  began  slowly  to 
expand  their  close  winter  folds,  the  dark  and  melancholy 
woods  to  assume  an  almost  imperceptible  purple  tint;  and 
here  and  there  a  little  chirping  bluebird  h()[)ped  about  the 
orchards.  Strips  of  fresh  green  appeared  along  the  brooks, 
now  released  from  tlieir  icy  fetters;  and  nests  of  little  varie- 
gated flowers,  nameless,  yet  richly  deserving  a  name,  si'jrang 
up  in  the  eheltered  recesses  of  the  leafless  woods. 


28  rRACTirAI,   EI.OOUTIOW. 

8.     I  cannot  Vducli  my  tale  is  true, 
Nor  say,  indootl,  'lis  wliolly  new; 
But  true  or  false,  or  now  or  old, 
I  flunk  you'll  lind  it  fairly  told. 
A  FriMU'lnnan,  who  had  ne'er  before 
Sft  foot  upon  a  foreign  shore, 
Weary  of  home,  resolved  to  p^o 
And  see  what  Holland  had  to  show. 
He  didn't  know  a  word  of  Dutch, 
But  th:it  could  hardly  trrieve  him  much  ; 
He  thoui^ht,  iis  Frenchmen  always  do. 
That  all  the  world  could  "  parley-voo." — J.  G.  Saxe. 

0.  I  know,  the  more  one  sickens,  the  worse  at  ease  he  i3  ; 
nnd  that  he  that  wants  money,  means,  and  content,  is  without 
three  t;ood  friends ;  that  the  ])roi)erty  of  rain  is  to  wet,  and 
fire  to  hurn  ;  that  good  pasture  makes  fat  sheep,  and  that  a 
great  eau.se  of  the  night  is  lack  of  the  sun  ;  that  he  that 
h:ith  learned  no  wit  by  nature  or  art  may  complain  of  good 
breeding,  or  comes  of  a  very  dull  kindred. — Shakespeare. 

10.  "And  the  Lord  God  formed  man  of  the  dust  of  the 
ground,  and  hrealhed  into  his  nostrils  the  breath  of  life,  and 
the  man  became  a  living  soul."  How  wonderful  is  breath! 
It  comes  to  us  in  the  soft  summer  morning  laden  with  the 
perfume  of  flowers;  but  ere  it  reaches  us  it  has  ki.ssed  a  thou- 
sand scented  leaves.  The  birds  soar  aloft  in  tliis  mysterious 
ether,  ])ouring  their  triumphal  songs  on  its  resonant  bosom  ; 
and  the  Initterfly  and  buzzing  insect,  ''like  winged  flowers 
and  flying  gem.s,"  sparkle  and  shimmer  in  their  daz:zling 
beauty. 

But,  whether  it  brings  upon  its  waves  the  mutterings  of  the 
coming  storm,  or  the  merry,  ringing  laugh  of  childhood — the 
awfid  booming  of  the  heavy  cannonade,  or  the  silvery  tones 
of  the  violin — it  is  air,  such  as  we  breathe.  Oh  I  then  let  it 
l)ecr)me  a  thing  of  joy  to  us.  Let  us  learn  to  make  it  a  thing 
of  beauty,  wreathing  embodied  thoughts  in  vocal  gems  of 
jiiirity  atnl  sweetness,  that  shall  gladden  the  ears  of  all  who 
lisiten. — JJronaon. 

11.  External  heat  and  cold  had  little  influence  on 
Scrooge.  No  warmth  could  warm,  nor  wintry  weather  chill 
liim.  No  wind  that  blew  was  bitterer  than  he,  no  falling 
pnow  was  more  intent  upon  its  purpose,  no  pelting  rain  less 
open  to  entreaty.     Foul  weather  didn't  know  where  to  have 


CONVERSATIONAL   EXERCISES.  99 

him.  Tlie  heaviest  rain,  and  snow,  and  hail,  and  sleet,  could 
boast  of  the  advantage  over  him  in  only  one  res[)eet.  They 
often  "  came  down  "  handsomely,  and  Scrooge  never  did.— 
X>icken8. 

12.       Oh,  tell  me,  where  did  Katy  live? 

And  what  did  Katy  do  ? 
And  was  she  very  lair  and  young, 

And  yet  so  wicked,  too  ? 
Did  Katy  love  a  naughty  inan. 

Or  kiss  more  cheeks  than  one  ? 
I  warrant  Katy  did  no  more 

Than  many  a  Kate  has  done. — 0.  W.  Holmes. 


13.  "And  when  the  middle  of  the  afternoon  came,  from 
being  a  poor  poverty-stricken  l)oy  in  the  morning,  Tom 
Siiwyer  was  literally  rolling  in  wealth.  He  had,  beside  the 
things  before  mentioned,  twelve  marbles,  part  of  a  jew's-harp, 
a  piece  of  blue-bottle  glass,  to  look  through,  a  spool  cannon,  a 
key  that  wouldn't  unlock  anything,  a  fragment  of  chalk,  a 
glass-stopper  of  a  decanter,  a  tin  soldier,  a  couple  of  tadpoles, 
six  fire-crackers,  a  kitten  with  only  one  eye,  a  brass  door- 
knob, a  dog-collar — but  no  dog,  the  handle  of  a  knife,  four 
pieces  of  orange-peel,  and  a  dilapidated  old  window-sash." — 
Mark  Twain. 


14.     Fill  thou  each  hour  with  what  will  last ; 
Buy  up  the  moments  as  they  go  : 
The  life  above,  when  this  is  past. 
Is  the  ripe  fruit  of  life  below. 


For  further  practice,  use  exercises  under  Simple  Pure 
Quality,  Medium  Pitch,  Medium  Force  and  Medium  Rate. 

For  selections  adapted  to  Conversational  Reading,  see 
Elocutionist's  Annual,  No.  1,  pages  49,  82  and  101;  No.  2, 
pages  66  and  152 ;  No.  3,  page  42 ;  No.  5,  page  34. 


f(i  PRACTICAL   ELOCUTION. 


CONVERSATION  IN  ITS  RELATION  TO  READING. 


a.      AXALOr.Y. 

With  reference  to  Expression,  Conversation  may  be  defined 
tlie  utterance  of  our  own  thoughts  in  our  own  words,  to  one 
or  a  few  individuals. 

Urivfiiiff  is  the  utterance  of  the  author's  thought  in  the 
autlior's  words,  to  one  or  many  individuals. 

We  use,  in  Con  vrr  sat  ion,  the  same  voice  or  material,  and 
the  same  forms  of  i^ound.  and  call  into  exercise  the  same 
thoughts,  feelings  and  passions  as  in  Reading. 

The  Cultivation  of  these  powers  for  Conversation  will  j^ivc 
them  cultivation  for  Reading,  and  inasmuch  as  we  converse 
more  than  we  read,  it  is  at  once  apparent  that  we  have  in 
Conversation  the  greater  ojjportunity  for  their  cultivation. 

b.      DISTINCTION. 

The  distinction  between  Conversation  and  Reading  is  two 
fold. 

First. — Reading  carries  us  beyond  the  province  of  Conversation, 
v'hrn  it  is  addressed  to  a  large  collection  of  persons.  This  dis- 
tinction involves  the  same  consideration  as  the  distinction 
between  Cf)nversation  and  Public  Address,  and  will  he  treated 
umler  the  next  head. 

Second. — The  Second  distinction  is  found  in  the  mechanical 
difficulty  of  expressing  the  author's  language  a^s  naturally  as  we 
do  our  own.  We  have  observed  that  Conversation  is  the 
expression  of  thought  in  our  own  words.  These  words  being 
chosen  from  our  common  vocal)ulary,  are  fiimiliar  to  the 
organs  of  speech,  and  are,  therefore,  uttered  without  labored 
eflort. 

The  same  is  true  of  conversational  constructions.  Such 
eonstructions  are  used  as  have  become    habitual  to    the 


CONVERSATION   IN   ITS   RELATION   TO   READING.  31 

speaker,  and  the  mechanical  laVx^r  of  their  utterance  is 
avoided.  In  Reading,  words  and  constructions  are  often 
foreign  to  the  habit  of  the  speaker,  and  their  exjjression  must 
necessarily  manifest,  at  first,  the  mechanism  of  their  utter- 
ance. It  is,  therefore,  necessary,  in  Reading,  to  give  that 
practice  to  the  language  which  will  render  the  utterance  as 
familiar  as  that  of  our  common  Conversation. 

Note. — From  the  above,  it  is  proper  to  observe  that  skill  iu  reading  at  sight 
can  be  acqiiirod  only  by  the  habitual  use  of  the  words  in  common  usage,  and  by 
Camiliarity  with  the  various  styles  of  written  l.ui?uago.  This  suggests  the  im- 
portance of  a  broad  vocabulary  in  familiar  speech  and  of  much  reading  aloud 
from  writers  of  good  style. 

C.      MODELS. 

It  has  been  shown  in  thg  above  discussion,  that  when  the 
author's  language  has  become  as  familiar  as  our  own  there  will 
exist  a  perfect  analogy  between  Conversation  and  Reading. 
It  has  also  been  previously  shown  that  Conversation  is  the 
original  and  natural  source  of  all  true  expression.  We  will, 
therefore,  find  in  correct  and  natural  Conversation  the 
truest  and  purest  models  from  which  to  coi)y  in  our  Reading. 

As  the  landscape  or  forest  will  furnish  the  painter  original 
models  for  his  art,  so  will  Conversation  furnish  original 
models  of  sentiment,  emotion  and  passion  for  the  Reader's 
art  In  reading,  therefore,  ice  should  express  the  language  rf  the 
author  as  we  ivould  idter  the  same  language  under  the  same  cir- 
cumstances in  pure  conversation. 

Note  1.  In  Impersonation,  the  Reader  will  neccesarily  depart  from  the  basi* 
of  his  own  Conversation  to  the  imiiatinn  of  the  character  impersonated. 

Note  2. — Intelligent  Reading  presupposes  that  the  'Roa.ier  comprehend  \\\e 
thought,  and  that  in  its  expression  ha  sympathize  with  the  author's  meaning; 
these  requirements  precede  the  expression  of  language  under  all  circumutaiices. 


82  PRACTICAL  ELOCUTION. 


CONVERSATION  IN  ITS  RELATION  TO  PUBLIC  ADDRESS. 


a.     ANALOGY. 

Head  carefully  the  corresponding  discussion  under  the 
previous  t')j)ic ;  it  has  the  sanic  force  and  bearing  in  the 
treatment  of  this  division  of  the  subject. 

h.      DISTINCTION. 

Conversation  and  Public  Address  both  concern  the  con- 
veyance of  thought  to  the  iadimdaal. 

The  distinction  consists  only  in  the  greater  accuracy  and 
iTUnvtitij  necessary  in  Public  Address  to  overcome  the  ob- 
stacles of  member  and  space. 

This  refers  to  the  distinction  between  the  delivery  of  tlie 
same  sentence  l)efore  the  multitude,  and  its  delivery  to  a 
single  individual.  Passages,  difTering  in  sentiment,  will  be 
expressed  differently  in  Conversation,  and  will  preserve  a  cor- 
responding difFerence  if  delivered  publicly. 

ILI>USTRATION. 

European  guides  know  about  enough  English  to  tangle 
evcrylliing  up,  so  that  a  man  can  make  neither  head  nor 
tail  of  it.  They  know  their  story  by  heart, — the  history  of 
every  statue,  painting,  cathedral  or  other  wonder  they  show 
you.  They  know  it  and  tell  it  as  a  parrot  would, — and  if 
you  interrupt  and  throw  them  off  the  track,  they  have  to  go 
back  and  begin  over  again.  All  their  lives  long  they  are 
employed  in  showing  strange  things  to  foreigners  and  listen- 
ing to  their  bursts  of  admiration. — "  Innocents  Abroad" — 
Mark  Twain. 

England  may  as  well  dam  up  the  waters  of  the  Nile  with 
buh-ushcs  as  to  fetter  the  step  of  Freedom,  more  proud  and 
linn  in  this  youthful  land  than  where  she  treads  the  seques- 


OOKVEHSAflON  iN  ITS  KELAflON  TO  f UBLIC  ADDRESS.  33 

tered  glens  of  Scotland,  or  coiu^hes  herself  anioii.s:  the  mag- 
nificent mountains  of  Switzerland. — Speech  of  James  Oils. 


But  this  very  day,  an  honest  man,  my  neighbor — there 
he  stands — was  struck — struck  like  a  dog,  by  one  who  wore 
the  badge  of  Ursini,  because,  forsooth,  he  tossed  not  high 
his  ready  cap  in  air,  nor  lifted  up  his  voice  in  servile  shouts, 
at  sight  of  that  great  ruffian ! — Rienzi  to  the  Romans. 


We  have  here  three  sentences  differing  widely  in  charactei 
and  demanding  different  forms  of  expression  ;  the  difference, 
however,  exists  in  the  sentences  themselves — the  first  Veing 
simply  conversational,  the  second  bold  and  oratorical,  the 
third  impassioned  and  dramatic. 

This  difference  will  manifest  itself  in  their  utterance  in 
familiar  discourse,  Avhere  the  key  to  their  individual  expression 
will  be  found.  Their  delivery  before  the  audience  will  in^ 
volve  no  other  distinction  than  that  of  increased  accuracy 
and  intensity.  In  each  case  the  Conversational  form,  peculiar- 
to  the  sentence,  shoulabe  carefully  preserved. 

As  the  picture  thrown  upon  the  screen  is  preserved  in 
form,  but  magnified  in  all  its  proportions,  so  in  public 
speech,  care  should  be  exercised  to  preserve  the  natural  or 
conversational  form,  while,  in  due  proportion  of  voice  and 
manner,  there  is  added  earnestness  and  intensity. 

Note. — Every  student  should  make  hiiiisflf  familiar  with  the  following: 

Guide  to  Public  Address. — The  manner  of  expression  by 
which  I  may  convey  a  thought  most  impressively  to  a  single 
individual,  viiW  best  convey  it  to  two;  the  only  change  dic- 
tated by  nature  or  reason  being  such  simple  change  as  the 
alternation  of  the  eye  from  one  to  the  other.  The  same 
manner  of  exjjression  will  best  convey  the  same  thought  to  a 
dozen,  with  the  necessary  change  in  intensity  of  voice  and 
gestui'c;  this  individual  basis  will  furnish  the  most  impres- 
sive form  for  the   utterance   of  the  same   sentiment  to   a 


34  PRACTICAL  KIXX^TION, 

fhousand,  supplemcnteil   by  a  power  of  voice  and  earnest- 
ness of  gesture  adapted  to  the  number  and  the  space. 

Remarks. — Audiences  are  made  up  of  individual  souls, 
not  one  of  which  loses  its  individual  character  because  in 
juxtaposition  with  another.  The  soul  of  an  audience  can  only 
be  rc.ichod  by  reaching  the  individual  souls  that  compose  it. 
An  individual  being  addre.ssed,  each  person  regards  himself 
the  individual,  and  accordingly  appropriates  the  thought;  and 
each  having  received  the  thought,  all  have  received  it.  We 
submit  that  there  is  no  one  fault  among  public  speakers 
more  common,  or  one  more  baneful  than  the  habit  of 
addressing  a  mass  of  individuals  as  if  their  souls  had  also 
massed,  and  that,  therefore,  they  must  resort  to  some  unnat- 
ural and  monstrous  means  of  access  to  it. 

C.      MODELS. 

Conversation  being  the  source  of  all  true  expression,  it 
must  be  at  once  apparent  that  we  shall  here  fwnX  our  highest 
»uo(W.'<  for  Public  Speech,  needing  oidy  enlargement  accord- 
ing to  the  demand.  Pure,  chaste  Conversation  is  at  once 
the  highest  Ondory,  and  true  Oratory  should  be  so  lost  in  pure 
simplicity  that  it  shall  be  but  noble  Conversation. 


GENERAL  SUMMARY  OF  CONVERSATION. 

Conversation  is  natural  communication  to  the  individual. 
All  speech  is  natural  communication  to  the  uidividual; 
therefore  all  speech  is  Conversation.  Reading  and  Public 
Address  are  but  modified  forms  of  Conversation,  and  are  sc 
clo.sely  allied  to  it  that  excellence  in  Conversation  will  se 
•ure  excellence  in  Reading  and  Public  Address. 


PRINCIPLES. 


It  has  been  shown  that  the  germs  of  Elocution  are  found 
native  in  pure  Conversation.  Pnnciplrs  will  concern  the 
processes  of  their  growth  and  development.  Tliese  germs 
are  found  in  Speech  and  Gesture,  which  are  the  two  great 
Jiiediums  of  communication. 


SPEECH. 

Speech  is  the  most  direct  and  the  most  important  instru- 
ment for  the  conveyance  of  thought.  By  it  men  are  put  in 
possession  of  tlie  tlioughts  and  experiences  of  tlieir  fellow- 
men,  so  that  the  development  of  mind  itself  may  be  said  to 
depend  greatly  upon  Speech. 

The  organs  uniting  in  its  production  are  the  vocal  organs 
for  voice,  the  organs  of  speech  for  articulation,  and  the  intel- 
lectual and  emotional  faculties  for  expression.  Hence  the 
subdivisions — Voice,  Articulation,  Expression. 

Note. — The  term  organs  of  speech,  a,3  applied  here.  Is  used  in  its  technical 
iense,  and  includes,  prominently,  the  lips,  tongue,  teeth,  palate  and  na»al 
organs. 

VOICE. 

Voice  is  the  principal  material  of  which  speech  is  made. 
Its  cultivation  is  closely  related  to  the  whole  subject  of 
Elocution,  and  therefore  claims  the  most  careful  attention 
of  the  student. 

The  cultivation  of  the  Voice  will  dopend  upon  judicious 

35 


46  fRA(Tir.\h   ELOCUTION. 

exercise,  in  harmony  with  Uie  natural  law  of  human  d* 
velopmcnt. 

Intelligent  investigation  and  broad  experience  have  estab- 
liHlied  the  fact  that  voice  is  the  product  of  a  pliysical 
nicchanisMi,  as  well-defined  as  the  muscles  of  the  arm  or  the 
tissue  of  the  brain,  and  that  its  development  follows  a  law  of 
our  being,  as  simple  and  as  natural  as  that  by  which  the 
arm  moves  or  the  brain  thinks. 

It  is,  however,  worthy  of  observation  that  the  voice  does 
not  ordhiarily  receive  power  or  culture,  even  from  the 
most  constiint  exercise,  but  it  does  not  follow  that  it  therefore 
departs  from  the  recognized  law  of  development,  but^rather 
that  the  customary  habits  of  its  use  are  unwise,  mistaken, 
and  founded  in  ignorance  of  its  structure.  The  operations 
of  the  vocal  instrument  are  so  subtle  and  the  liability  to  false 
practice  so  great,  that  it  becomes  a  matter  of  prii©ary  impor- 
tance that  the  student  be  directed  to  its  use  in  his  earliest 
exercises.  To  this  end  voice  is  here  presented,  in  its  theory 
and  j3r/7c//ce,  under  the  two  heads,  Philosophy  of  Voice  and 
Utterance. 

PHILOSOPHY  OF  VOICE. 

Philosophy  of  Voice  concerns  the  structure,of  the  instrument, 
itsusr,  and  its  management,  and  therefore  includes  its  anatomy, 
phyniology  and  hygiene. 

Vuice  is  the  result  of  the  vibratory  motion  produced  by 
the  action  of  breath  upon  the  vocal  cords.  The  parts  imme- 
diately involved  are  therefore  the  Organs  of  Respiration  and 
the  Vocal  Cords. 

The  lungs  may  be  properly  regarded  as  the  centre  of  the 
Respiratory  System.  They  are  the  great  reservoirs,  where  the 
motive  power  of  the  Voice  is  concentrated. 

Directly  beneath  and  immediately  connected  with  the 
lungs  is  the  diaphragm,  or  movable  wall  of  muscular  partition 
betweea  the  cavity  of  the  chest  and  the  cavity  of  the  abdo- 
men. This,  together  with  the  abdominal  muscles,  which 
Rontrol    its  movements,  may  be  compared  to  the  handle  of 


PRINCIPLIM— UTTERANCE.  37 

a  bellows,  of  which  the  kings  constitute  the  body.  Thu 
application  of  power  to  these  muscles,  either  in  the  act 
of  breathing  or  speaking,  is  immediately  communicated 
to  the  lungs,  causing  the  escape  of  air,  or  exhalation.  The 
corresponding  inhalation  is  controlled  by  the  relijxation  of 
these  muscles  and  the  consequent  depression  of  the  dia- 
phragm. Their  proper  action  constitutes  the  primary  power 
of  respiration,  and  therefore  bears  an  important  relation  to 
the  production  of  tone. 

Above  the  lungs,  and  connected  with  them  by  the  trachea 
or  windpipe,  is  that  wonderful  conformation  of  cartilages 
musclea.and  ligaments,  known  as  the  Larynx,  in  which  are 
located  the  Vocal  Cords,  whence  all  tone  or  voice  immediately 
proceeds. 

The  Vocal  Cords  consist  of  two  slight,  elastic  bands,  situated 
in  the  laryn^  a  short  distance  above  its  juncture  with  the 
trachea,  and  immediately  below  its  outward  projection, 
known  as  the  "Adam's  apple."  These  bands  adhere  so 
closely  to  the  walls  of  the  throat  as  to  be  scarcely  distin- 
guishable by  the  aid  of  the  laryngoscope ;  but  in  the  act  of 
voice  production  they  are  thrown  forward  into  the  current 
of  air  escaping  from  the  lungs,  and  the  thin  membrane' 
covering  their  surftxce  is  thus  excited  to  rapid  vibration, 
which,  receiving  resonance  and  volume  from  the  cavity  or 
the  chest  and  from  the  mouth,  escapes  from  the  lips  a  per' 
feet  creation — voice. 


UTTERANCE. 

From  the  preceding  brief  explanation,  it  will  be  easily 
understood  that  the  parts  of  the  system  involved  in  the  pro- 
duction of  voice  are,  in  the  order  of  their  use,  the  Abdomi- 
nal Muscles,  the  Lungs,  and  the  Vocal  Cords.  The  cavity  of 
the  mouth  also  contributes  much  to  the  purity  and  riciiness 
of  the  tone.  These  several  parts  exist  in  every  perfect 
organization,  and  may  be  termed  the  muscular  implenients 
oi  the  human  voice. 


S8  PRACTICAL  KT-OCUnOW. 

Utterance  ia  the  technical  term  given  to  all  sounds  emanai 
ting  from  this  vocal  instrument,  whether  whispered  or  vocal, 
and  is  the  result  of  the  opposition  offered  to  the  escape  of 
the  air-current,  by  the  projection  of  the  vocal  cords  across 
the  trachea.  Utterance,  therefore,  im2)lies  such  an  applica- 
tion of  breath  upon  the  vocal  cords,  and  such  control  of 
them,  aa  to  produce  sound  or  voice.  It  may  be  regarded 
simply  aa  practical  voice-production,  and  will  be  treated 
with  reference  to  its  development  and  its  quality. 


DE]/ELOPMENT. 

A  well-developed  voice  imparts  force  and  dignity  to  every 
relation  of  life.  It  is  tlie  first  step  toward  culture  in  the  art 
of  Elocution.  The  distinctive  aim  in  vocal  development  is 
to  secure  that  pM/v7(/,poH'e/'  &n^  flexibility  which  must  unite 
to  give  cJuiracter  to  the  voice. 

Rapid  and  healthful  development  will  depend  upon  correct 
brealhinfj,  combined  Avith  judicious,  systematic  and  vigoroua 
vocal  and  -physical  exercise. 


•     BREATHING. 

Kespiration  or  breathing  is  defined  as  the  process  by  which 
air  is  taken  into  the  lungs  and  ej:pelled  from  them,  lid  is 
the  motive  power  of  the  voice.  The  following  seems  a 
natural  order  of  treatment: 

a.  What  we  breathe. 

h.  Why  we  breatlie. 

c.  How  we  breathe. 

d.  Breathing  exercises. 

"^Hiat  rve  breathe. — Health,  happiness  and  existence  itself 
depend  upon  the  quality  of  air  we  breathe.  Pure  air  alone 
can  prouKjte  natural  activity  and  buoyancy  in  the  physica- 
being. 


PRINCIPLKS — BREATHING.  39 

Why  we  breathe. — We  breathe  to  supply  the  system  with 
oxygen ;  to  releave  the  body  of  waste  and  useless  matter,  and 
for  the  purposes  of  speech — breathing  behig  the  great  agent  of 
human  utterance.  Respiration  also  promotes  the  healthy  devel- 
!  opment  of  the  parts  by  which  it  is  carried  on.  The  intercostal 
muscles  are  afforded  exercise  by  breathing;  the  lungs  are 
rendered  capacious  and  flexible;  the  muscles  of  the  waist 
and  back  are  strengthened,  and  the  whole  body  is  given 
added  symmetry  and  comeliness. 

How  we  breathe. — Healthful  respiration  is  carried  on  through 
the  nostrils.  This  is  illustrated,  notably,  in  the  breathing  of 
animals,  savages,  and  healthy  children.  The  throat  and  lungs 
are  thus  protected  from  the  impurities  and  severity  of  the 
atmospherej  either  of  which  tends  to  produce  irritation  and 
disease. 

By  the  habit  of  deep  and  full  inspiration.  Every  part  within 
the  whole  range  of  the  respiratory  system  should  be  ex- 
erted with  each  successive  breath.  Exercise  is  a  condition 
of  health  and  strength  as  absolute  as  food  or  air  itself. 
Failing  for  a  time  to  exercise  any  part  of  this  marvellous 
organism,  we  have  weakened  the  part  in  proportion  to  the 
time  it  has  been  inactive.  Weakness  begets  weakness  and 
diminished  lung  power  will  impair  both  the  quality  and  the 
power  of  the  voice. 

EXERCISES  IN  BREATHING. 

1.  Chest  Breathing. — Relax  the  muscles  of  the  chest.  Take 
A  full  inspiration  and  expand  the  chest  to  its  fullest  capacity. 
^ive  out  the  Ijreath  gradually. 

2.  Costal  Breathing. — Distend  the  sides  while  inhaling  and 
relax  gradually  with  slow  and  regular  exhalation. 

3.  Waist  Breathing. — Inhale  with  the  view  of  expanding 
the  entire  circle  of  the  waist. 

4.  Dorsal  Breathing. — Inhale  as  if  endeavoring  to  thrust 
out  the  nuiscles  of  tlie  bnck  by  (ho  fon^e  of  the  air. 

5.  Abdominal   Breathing. — Breathe    deeply,    forcing    the 


*40  PRACTICAL  ELOCUTION. 

abdominal   muscles  outwanl.     Ja-L  them  sink  as  much  aa 
possible  during  exhalation. 

6.  Full  linathing. — Inhale  slowly  and  exercise  the  will 
upon  all  parts  of  the  body,  simultaneously.  This  may  be 
rcpirded  a  union  of  all  the  previous  exercises,  and  is  but  an, 
intentjificd  form  of  what  should  be  the  ruitural  habit  of 
breathing. 

7.  Prolonged  Breathing. — Prolong  the  exorcise  of  Full 
Breath  ing. 

8.  Effusive  Breathing. — Inhale  naturally.  Give  out  the 
breath  in  the  sound  of  the  letter  h,  as  gently  and  gradually 
as  possible. 

9.  Expulnive  Breathing. — Inhale  as  in  Full  Breathing  and 
expel  the  air  forcibly  but  gradually  wpon  the  sound  of  the 
letter  h. 

10.  Explosive  Breathing. — Take  full  breath,  expel  suddenly 
and  with  force  in  a  whispered  utterance  of  the  word  Ha. 

Note  1. — An  active  position  should  be  observed  in  the  above  exercises,  the 
body  carefully  erect,  arms  akimbo,  and  fingers  bearinj;  upon  the  abdominal 
museltis,  except  as  they  may  be  changed  to  the  part  upon  which  the  exercise  is 
directed. 

Note  2. — These  exercises  should  be  used  with  as  much  caution  and  regularity 
as  any  other  gymnastic  exercise.  They  should  be  commenced  gradually  and 
discontinued  if  any  sensation  of  dizziness  is  experienced.  It  will  be  observed 
that  the  series  is  progressive  in  its  character,  giving  it  special  advantage  to 
persons  not  accustomed  to  habits  of  full  breathing,  and  to  iuvalida. 


VOCAL  EXERCISES. 

The  following  table  of  Vocal  Exercises  is  designed  to  rep~ 
rasent  the  principal  forms  which  the  voice  assumes  in 
response  to  the  various  classes  of  sentiment  and  passion. 
Let  it  be  understood,  however,  that  these  forms  are  ever 
changing  in  degree  and  direction.  Nature  rarely  repeata 
herself  with  mathematical  exactness.  The  leaves  of  the  tree 
are  of  a  kind,  but  not  alike.  Members  of  a  fixmily  frequently 
resemble  one  another,  but  never  is  the  likeness  of  one  ex- 
actly reproduced  in  another.    So  the  countenance  of  a  person 


PRINCIPLES — VOCAL  EXERCISES.  41 

not  only  changes  under  different  impressions  and  emotions, 
but  an  impression  repeated  will  rarely  repeat  itself  exactly 
upon  the  countenance. 

No  arbitrary  form  for  the  voice  is  therefore  suggested  by 
these  characters,  but  if  disciplined  to  produce  readily,  and, 
in.  pure  quality,  the  several  forms  here  suggested,  it  will 
respond  naturally  to  corresponding  sentiments  and  emotions. 
They  should  be  practiced  until  the  speaker  can  produce 
them  easily  and  confidently  in  any  order  and  in  any  degz-ee. 
This  done,  they  will  then  take  their  place  in  speech,  without 
effort,  as  promptly  as  the  countenance  will  lighten  in  the 
presence  of  an  unexpected  friend,  or  darken  at  sudden  dis-- 
appointment  or  sorrow. 


TABLE  OF  VOCAL  EXERCISES. 

1.  ASIOU       •       •       •       •       •        Naturally. 

2.  AEIOU      •      •      •       •      •        With  Full  Force. 


f        A         E         I         O         U  ( 

■  1  A         E         I         O  V         \ 


E         I         O         U  ^     Alternating  High 

and  Low. 


4.  AEIOU  — ^— ^— — — ^-^—     Effusively; 

5.  AEIOU      ^ Expulsively. 

6.  AEIOU  BM       ■       ■       ■  Explosively. 

7.  AEIOU  '^^^^^^^^^^^  "With  Swell. 

8.  AEIOU  ^^^■■■■■iHHBn  "With  Sustained  Force. 

9.  A  E  1  &  U      .,^..,„.~  With  Tremor. 

10.  AEIOU  ^^^^^  With  Full  Breathing. 


42  PRACTICAL  ELOCUTIOW. 

EXPLANATION  OF  THE  PRECEDING  TABLE. 

1.  Naturid. — Place  the  organs  of  speech  in  correct  posi- 
.ion  for  tlie  sound  to  be  uttered.  Tiie  vocal  cords  will 
t;ike  tlu'ir  place  without  any  conscious  act.  The  natural 
flow  of  the  air  in  exhalation  will  produce  the  ])urest  tone  of 
which  the  organs  are  capable,  and  in  the  simplest  manner. 
The  correct  use  of  the  breath  will  be  determined  by  a  slight 
depression  of  the  abdominal  muscles  and  the  barely  con- 
scious stroke  of  the  diaphragm  upon  the  lower  part  of  the 
lungs.  To  produce  a  pure  tone,  the  lower  jaw  sliould  be 
slightly  projected,  the  throat  well  opened.  This  will  be 
shown  by  a  greater  fullness  in  the  outer  muscles. 

Tlie  greatest  care  should  he  observed  in  this  exercise,  inasmuch 
a^  future  vocalization  ivill  depend  upon  the  correctness  of  these 
natural  sounds. 

2.  Wilh  Full  Force. — Apjilj'  the  abdominal  muscles  witli 
full  force  upon  the  diaphragm,  so  that  the  volume  of  air 
may  be  brought  to  bear  with  great  power  upon  the  vocal 
cords.  This  action  should  not  be  abrupt  or  violent,  but  lirro, 
and  decisive. 

3.  Hi(jh  and  Low. — It  is  designed  here  to  apply  the  pre- 
ceding two  exercises  at  different  points  within  the  natural 
compass  of  the  voice.  It  is  not  designed  to  antici2)ate  the 
more  thorough  cullivation  of  pitch  as  a  special  modulation. 

4.  F£'usivr. — This  exercise  consists  in  the  pouring  forth  or 
erffusitig  of  the  simplest  natural  tone. 

5.  Erpuhive. — "With  a  forcible  action  of  the  abdominal 
muscles  and  well-expanded  chest,  strike  the  tone  as  in  Full 
Force,  l)ut  let  tlie  volume  of  sound  diminish  more  gradually. 

0.  Explosive. — Strike  the  diaphragm  with  violent  and 
.Abrupt  action  of  the  aV^dominal  muscles,  and  aim  to  produce 
a  burst  of  voice  which  shall  fall  upon  the  ear  clear  and  sud- 
den. 

7.  With  Swell. — Beginning  with  Effusive,  expand  slowly  to 
the  degree  of  Full  Force,  releasing  the  action  us  gradually 


PRINCIPLES— VOCAL  EXERCISE8.  43 

M  it  was  begun.  Purity  and  regularity  in  the  increase  anil 
decrease  of  the  tone  will  report  the  correctness  of  the  physi- 
cal action. 

8.  With  Sustained  Force. — Exert  the  muscles  of  the  body 
AS  in  Full  Force.  Hold  them  firm  and  steady,  terminating 
the  tension  abruptly. 

9.  Tremor. — Prolong  the  sounds,  either  in  Natural  or  Full 
Force,  making  the  voice  tremulous  by  a  corresponding 
action  of  the  muscles  of  the  chest. 

10.  With  Full  Breathing.— Concentrate  the  greatest  possi- 
ble force  upon  a  single  tone — more  violent  than  in  Full 
Force  and  less  abrupt  than  in  Explosive.  The  utterance 
should  be  preceded  by  a  full  inhalation  and  then  produced 
by  sucli  a  culmination  of  power  as  could  not  be  sustained  or 
repeated  without  renewed  breath. 

The  student  should  remember  that,  in  order  to  obtain  the  best 
results  from  these  exercises,  there  should  be  in  each  a  corresponding 
adion  of  the  -mind. 

In  the  natural,  the  thought  should  be  unimpassioned.  In 
full  force,  there  should  be  great  purpose  in  the  mind.  In 
high  and  low,  there  should  be  some  corresponding  mental 
condition  of  joy  or  victory  in  the  one,  and  solemnity  or  awe 
in  the  other.  The  Effusive  should  be  marked  by  a  spirit  of 
reflective  tenderness;  the  explosive,  by  impulsive  vehemence  ; 
the  stvell,  by  an  expansion  of  mind  and  soul.  In  sustained  force, 
the  thought  should  be  sustained  with  the  exercise.  In  tremor, 
the  whole  being  should  at  once  be  possessed  with  the  sense 
of  pity,  grief,  or  deep  sympathy.  In  full  breathing,  there 
sliuuld  be  the  greatest  possible  concentration  of  soul  power. 
And  in  all,  from  the  most  natural  to  the  most  violent,  there 
should  be  repose  ajid  self-possession,  so  that  the  exercise 
may  be  the  result  of  the  best  condition  of  mind  and  body. 

Note. — The  following  exercises  should  be  practiced  until  the  student  t»m 
promptly  marlc  the  distinctions  illustrated  In  the  foregoing  table. 


44  PRACTICAL  ELOCUTIOW. 

EXAMPLES  IN  NATURAL. 


1.  Reniemhrr  now  thy  Creator  in  the  days  of  thy  youth, 
while  the  evil  days  come  not,  nor  the  years  draw  nigh,  when 
thou  shall  say,  I  have  no  pleasure  in  tliein  ;  while  the  sun, 
or  the  light,  or  the  moon,  or  the  stars,  be  not  darkened  nor 
the  clouds  return  after  the  rain. — Bible. 


2.    The  grass  is  just  as  green,  Tom  ;   hare-footed  boys  at 
play 
"Were  sporting,  just  as  we  did  tlien,  witli  spirits  just  as 

p^y- 

But  the  "master"  sleeps  upon  the  hill,  wliich,  coated 

o'er  with  snow. 
Afforded  us  a  sliding-place,  some  forty  years  ago. 

8.  Prudence,  indeed,  will  dictate,  that  governments  long 
established  should  not  be  changed  for  light  and  transient 
causes;  and  accordingly  all  experience  hath  shown  that 
mankind  are  more  disposed  to  suller  while  evils  are  suffera- 
ble,  than  to  right  themselves  by  abolishing  the  forms  to 
which  they  are  accustomed.  But  w^hen  a  long  train  of 
abuses  and  usurpations,  pursuing  invarial)ly  the  same  object, 
evinces  a  design  to  reduce  them  under  absolute  despotism,  it 
is  their  right,  it  is  their  duty,  to  throw  off  such  government, 
and  to  provide  new  guards  for  their  future  security. 

— Declaration  of  Independenoe. 

4.  She  thanked  me. 

And  bade  me,  if  I  had  a  friend  that  loved  her, 
I  should  but  teach  him  how  to  tell  my  story, 
And  that  would  woo  her.     On  tliis  hint  I  spake; 
Bhe  loved  me  for  the  dangers  I  had  passed  ; 
And  I  loved  her  that  she  did  pity  them. 
Tiiis  is  th«  only  witchcraft  which  I've  used.  » 

— Shakspeare. 

6.         Alerrily  swinging  on  brier  and  weed, 
Xear  to  the  nest  of  his  little  dame, 
Over  the  mountain-side  or  mead, 

Robert  of  Lincoln  is  telling  his  name. 

—  WilUam  Cullen  Bryant. 


PRINCIPLES— VOCAL  EXERCISES. 

For  additional  examples  of  Natural,  use  selectioiis  of  sim^ 
i..Je  narrative  and  plain  description. 

EXAMPLES  IN  FULL  FORGE. 

1.  Meantime,  the  tramp,  tramp,  tramp,  sounds  on, — the 
{ramp  of  sixty  thousand  yearly  victims.  Bome  are  besotted 
and  stupid,  some  are  wild  with  hilarity,  and  dance  along  the 
dusty  way,  some  reel  along  in  ])itiful  weakness,  some  wreaic 
their  mad  and  murderous  impulses  on  the  helpless  women 
and  children  whose  destinies  are  united  t;o  theirs,  some  go 
bound  in  chains  from  which  they  seek  in  vain  to  wrench 
their  bleeding  wrists,  and  all  are  poisoned  in  body  and  soul, 
and  all  are  doomed  to  death. — J.  G.  Holland. 

2.  Build  me  straight,  O  worthy  Master! 

Staunch  and  strong,  a  goodly  vessel, 
That  shall  laugh  at  all  disnster. 

And  with  wave  and  whirlwind  wrestle  ! 

— H.  W.  Lo7igfeUow. 

8.  He  stood,  and  measured  the  earth  :  he  beheld  and 
drove  asunder  the  nations  ;  and  the  everlasting  mountains 
were  scattered,  the  perpetual  hills  did  bow  :  his  ways  are 
•verlasting. — Bible. 

4.  From  hill  to  hill  the  mandate  flew. 
From  lake  to  lake  the  tempest  grew, 

With  wakening  swell. 
Till  proud  oj:>pression  crouched  for  shame, 
And  Austria's  haughtiness  grew  tame ; 
And  Freedom's  watchword  was  the  name 

Of  William  Tell. 

5.  And,  sir,  where  American  liberty  raised  its  first  voice, 
and  where  its  j^outh  was  nurtured  and  sustained,  there  it  still 
lives,  in  the  strength  of  its  manhood,  and  full  of  its  original 
ppirit.  If  discord  and  disunion  shall  wound  it — if  party 
ttrife  and  blind  ambition  shall  hawk  at  and  tear  it ;  if  folly 
and  madness,  if  uneasiness  under  salutary  and  necessary  re- 
straint, shall  succeed  to  separate  it  from  that  Union  by  which 
alone  its  existence  is  made  sure,  it  will  stand,  in  the  end,  by 
the  bide  of  that  cradle  in  which  its  infancy  waa  rocked ;  anil 


46  PRACTICAL  ELOCUTION. 

it  will  f\ill  at  last,  if  fall  it   must,  aniiil   the  proudest  monu- 
ments of  itij  own  plory,  and  on  the  very  ypot  of  its  origin. 

—  Webster. 

For  selections  containing  additional  examples  of  Full 
Force,  see  Elocutionist's  Annual,  No.  1,  page  107 ;  No.  2, 
page  17  ;  No.  5,  page  02. 


EXAMPLES  IN  HIGH  AND  LOW. 


1.  "Make  way  for  liberty!  "  ho  cried, 

Then  ran,  with  arms  extended  wide, 
As  if  his  dearest  friend  to  clasp  ; 
Ten  spears  he  swept  within  his  grasp. 
"  Make  way  for  liberty!  "  he  cried  ; 
Their  keen  i)oints  crossed  from  side  to  side  ; 
He  bowed  among  them  like  a  tree, 
And  thus  made  way  for  liberty. 

— James  Montgomery. 

2.  Eternity! — thou  pleasing, — dreadful  thought! 
Through  what  variety  of  untried  being, 

Through  what  new  scenes  and  changes  must  we  pass! 
The  wide,  the  unbounded  prospect  lies  before  me ; 
But  shadows,  clouds,  and  darkness,  rest  upon  it. 

— Addison. 

8.  "  John  Maynard,"  with  an  anxious  voice, 

The  captain  cries  once  more, 
"  Stand  by  the  wlieel  five  minutes  yet, 
And  we  will  reach  the  shore." 

4.  'Tis  now  the  verj'  witching  time  of  night ; 

When  churchyards  yawn,  and  hell  itself  breathes  out 
Contagion  to  this  world.  — Shakspeare. 

5.  Liberty  !    Freedom  !    Tyranny  is  dead  I — 
Run  hence,  proclaim,  cry  it  about  the  etreets. 

— Shakspeare. 

6.  We  spend  our  years  like  a  tale  that  is  told.     The  dayt 


PRINCIPLES— VOCAL  EXERCISES.  47 

of  our  years  are  threescore  years  and  ten  ;  and  if  by  reason 
of  strength  they  be  four-score  years,  yet  is  their  strength 
labor  and  sorrow  ;  for  it  is  soon  cut  off,  and  we  fly  away. 

—Bible. 

7.  He  conquers  the  current,  he  gains  on  the  sea, — 
Ho,  where  is  tlie  swimmer  Hke  Charlie  Machroe. 

—  William  J.  Hoppin. 

8.  Not  a  word,  not  a  wail  from  a  lip  was  let  fall. 
Not  a  kiss  from  my  bride,  not  a  look  or  low  call 
Of  l6ve-note  or  courage,  but  on  o'er  the  plain 
So  steady  and  still,  leaning  low  to  the  mane, 

Rode  we  on,  rode  we  three,  rode  we  nose  and  grey  nose, 
Reaching  long,  breathing  loud,  like   a  creviced  wind. 

blows ; 
Yet  we  broke  not  a  whisper,  we  breathed  not  a  prayer. 
There  was  work  to  be  done,  there  was  death  in  the  air. 

— Joaquin  Miller. 

9.  Hushed  the  people's  swelling  murmur, 

Whilst  the  boy  cries  joyously  ; 
"  Ring  !  "  he  shouts,  "  Ring  !  grandpapa, 
Ring!  oh,  ring  for  Liberty  !  " 

10.  "  Ho  !  a  sail !     Ho  !  a  sail !  "  cried  a  man  at  the  lea, 
"Ho!   a  sail ! "   and  they  turned  their  glad  eyes  o'er 

the  sea. 
"They  see  us,  they  see  us,  the  signal  is  waved ! 
They  bear  down  upon  us,  they  bear  down  upon  us  : 
Huzza!  we  are  saved." 

For  selections  containing  additional  examples  of  High  and 
Low,  see  Elocutionist's  Annual,  No.  2,  page  63 ;  No.  1,  page 
67  ;  No.  3,  page  31 ;  No.  5,  page  44. 


EXAMPLES  IN  EFFUSIVE. 

All  in  the  wild  March-morning,  I  heard  the  angels  call ; 
It  was  when  the  moon  was  setting,  and  the  dark  waa 

over  all ; 
The  trees  began  to  whisper,  and  the  wind  began  to  roll. 
And  in  the  wild  March-morning  I  heard  them  call  my 

soul. —  Tennyson. 


48  PRACTICAL  ELOCUTION. 

2.  All  day  they  flew,  and  all  night  they  flew  and  flew,  till 
they  found  a  land  where  there  was  no  winter — where  there 
was  summer  all  the  time;  where  flowers  always  blossom,  and 
birds  always  sing. — Henry  Ward  Beecher. 

8.  Blow,  blow,  thou  winter  wind, 

Thou  art  not  so  unkind 
As  man's  ingratitude ; 

Thy  tooth  is  not  so  keen, 
Because  thou  art  not  seen, 
Although  thy  breath  be  rude. 

— Shakspeare. 

4.  And  he  showed  nie  a  j)ure  river  of  water  of  life,  cleai 
as  crystal,  proceeding  out  of  the  throne  of  God  and  of  the 
Lamb. — Bible. 

5.  How  often,  oh,  how  often, 

In  the  days  that  had  gone  by, 
I  had  stood  on  that  bridge  at  midnight 
And  gazed  on  that  wave  and  sky ! 

'  How  often,  oh,  how  often, 

I  had  wishe(l  that  the  ebbing  tide 
Would  bear  me  away  on  its  bosom 
O'er  the  ocean  wild  and  wide  ! 

— Lonyjdlow :  "  The  Bridgg.** 

6.  In  a  little  while  the  knell  for  each  one  of  us  will  cease, 
and  we  will  slumber  with  our  fatheri.  But  with  Christian 
faith  we  can  see  light  even  in  the  darkness  of  the  tomb. 
From  above  come  voices  of  loved  ones  calling  us  heaven- 
ward;  and,  listening,  we  long  f(jr  the  land  of  golden  streets, 
celestial  light,  and  unfading  glory. — Edward  Brooks. 

7.  And  friends,  dear  friends,  when  it  shall  be 
That  this  low  breath  is  gone  from  me, 
And  round  my  bier  ye  come  to  weep, 
Let  one,  most  loving  of  you  all, 

Say,  "  Not  a  tear  must  o'er  her  fall ; 
Hegiveth  His  beloved  sleep." 

— Mrs.  Brovming. 

For  selections  containing  additional  examples  of  Efi'usive, 
8fce  Elocutionist's  Annual,  No.  5,  page  78;  No.  3,  pag(i  9  ;  Na 
I,  pages  139  and  159 ;  No.  6,  page  83. 


PRINCIPLES — VOCAL   EXERCISES.  49 

EXAMPLES  IN  EXPULSIVE. 


1.  But  it  can  not,  shall  not  be ;  this  great  woe  to  our 
beloved  country,  this  catastrophe  for  the  cause  of  national 
freedom,  this  grievous  calamity  for  the  whole  civilized  world, 
it  can  not  be,  it  shall  not  be.  No,  by  the  glorious  Nineteenth  of 
April,  1775 ;  no,  by  the  precious  blood  of  Bunker  Hill,  of 
Princeton,  of  Saratoga,  of  King's  Mountain,  of  Yorktown ; 
no,  by  the  dear  immortal  memory  of  Washington, — that  sor- 
row and  shame  shall  never  be. — E.  Everett. 

2.  And  there  shall  be  no  night  there;  and  they  need  no 
candle,  neither  light  of  the  sun ;  for  the  Lord  God  giveth 
them  light :  and  they  shall  reign  for  ever  and  ever. — Bible. 

8.    Friends  :  I  come  not  here  to  talk.     Ye  know  too  well 
The  story  of  our  thralldora; — we  are  slaves  1 
The  bright  sun  rises  to  his  course,  and  lights 
A  race  of  slaves  !     He  sets,  and  his  last  beam 
Falls  on  a  slave  l—AL  R.  Mitford. 

4.  Sink  or  swim,  live  or  die,  survive  or  perish,  I  give  my 
hand  and  my  heart  to  this  vote!  Sir,  before  God  I  believe 
the  hour  is  come.  My  judj;ment  aj^provcs  this  measure; 
and  my  whole  heart  is  in  it.  All  that  I  have,  and  ail  that 
I  am,  and  all  that  I  hope  in  this  life,  I  am  now  ready  to  stake 
upon  it;  and  I  leave  off  as  I  began,  that,  live  or  die,  sur- 
vive or  perish,  I  am  for  the  declaration.  It  is  my  living  senti- 
ment, and,  by  the  blessing  of  God,  it  shall  be  my  dying  senti- 
ment:— Independence  now,  and  independence  fokever! 
— Daniel  Webster:  John  Adams. 

For  selections  containing  additional  example  of  Expulsive 
Force,  see  Elocutionist's  Anruial,  No.  2,  page  40  ;  No.  5,  p<»^e 
109 ;  No.  1,  Images  146  and  156. 


EXAMPLES  IN  EXPLOSIVE. 


1.     "  Down !  down  !  "  cried  Mar,  "  your  lances  down  1 
Bear  back  both  fiiend  and  foe  1  " 

—  Walter  Scott. 


50  PRACTICAL  KLOCUTION. 

2.  My  fate  cries  out, 

And  makes  each  jxHty  artery  in  this  body 
As  hardy  as  the  Nemean  lion's  nerve  — 
Plill  am  I  called; — unhand  me,  gentlemen:— 
I  say  away : — Go  on,  I'll  follow  thee. 

— Shakspeare. 

8.  No!  thus  I  rend  the  tyrant's  chain, 

And  fling  him  hack  a  hoy's  disdain  ! 

— Ann  iS.  Slrpknis. 

4.  The  British  advance.  "  Now  upon  the  rebels,  charge!' 
shouts  the  red-coat  officer.  They  spring  forward  at  the  sa  in* 
bound.  Look!  their  bayonets  almost  touch  the  muzzles  o( 
their  rifles.  At  this  moment  the  voice  of  the  unknown  rider 
was  heard  :  "  Now  let  them  have  it  I     Fire !  " 

— Charles  Sheppard. 

5.  T''^p  with  your  ladders  !  Quick!  'tis  but  a  chance!  Be- 
hold, how  fast  the  roaring  flames  advance!  Quick!  quick! 
Itrave  sjtirits,  to  his  rescue  fly;  Up!  up!  men!  all!  tliis 
hero  must  not  die  ! — Geo.  M.  Baker. 

For  selections  containing  additional  examples  in  Explo- 
sive, see  Elocutionist's  Annual,  No.  1,  page  107  ;  No.  4,  page 
80 ;  No.  2,  page  91. 


EXAMPLES  IN  SWELL. 

1.  Oh!  Thou  Eternal  One!  whose  presence  bright 

All  space  doth  occupy — all  motion  guide; 
Unchanged  through  time's  all-devastating  flight, 
Thou,  only,  God !  There  is  no  God  beside. 

2.  Lord  thou  hast  been  our  dwelling  place  in  all  genera- 
tions. Before  the  mountains  were  brought  forth,  or  evei 
thou  hadst  formed  the  earth  and  the  world,  even  frout 
iverlasting  to  eveilasting,  thou  art  God. — Bible. 

3.      O  lonely  tomb  in  Moab's  land  ! 
O  dark  Beth-i)eor's  hill  ! 
Speak  to  these  curious  hearts  of  oun, 
And  teach  them  to  be  still. 


PRINCIPLES— VOCAL  EXERCISEB.  51 

God  hath  his  mysteries  of  ^race, — 

Ways  that  we  cannot  tell  ; 
He  hides  them  deep,  like  the  secret  sleep 

Of  him  he  loved  so  well. — C.  F.  Alexander. 

4.  What  a  piece  of  work  is  a  man  !  How  noble  in  reason  I 
how  infinite  in  faculties!  in  form  and  moving,  how  express 
and  admirable!  in  action,  how  like  an  angel !  in  apprehen- 
sion, how  like  a  god  !  the  beauty  of  the  world  1  the  paragon 
of  animals ! — Shakspeare. 

5.  And  you,  ye  storms,  howl  out  his  greatness !  Let  your 
thunders  roll  like  drums  in  the  march  of  the  Gotl  of  armies! 
Let  your  lightnings  write  his  name  in  fire  on  the  midnight 
darkness ;  let  the  illimitable  void  of  space  become  one  mouth 
for  song ;  and  let  the  unnavigated  ether,  through  its  shore- 
less depths,  bear  through  the  infinite  remote  the  name  of 
him  whose  goodness  endureth  forever ! — Spurgeon. 

For  selections  containing  additional  examples  of  Swell,  se* 
Elocutionist's  Annual,  No.  6,  page  133;  No.  1,  page  125;  No. 
2,  page  20 ;  No.  5,  page  9. 


EXAMPLES  IN  SUSTAINED  FORGE, 


?.  And  lo!  from  the  assembled  crowd, 

There  rose  a  shout  prolonged  and  loud, 
That  to  the  ocean  seemed  to  say, — ■ 
"Take  her,  O  bridegroom,  old  and  gray  ; 
Take  her  to  thy  protecting  arms. 
With  all  her  youth,  and  all  her  charms !  " 

H.  W.  Longfellcm. 

3.     "  Ho !  sound  the  tocsin  from  my  tower,  and  fire  the 
culverin; 
Bid  each  retainer  arm  with  speed;  call  every  vassal  in  !" 

— Albert  G.  Greene. 

3.         Ring  the  alarum-bell  : — Murder  and  treason ! 
Banquo,  and  Donabain  I  Malcolm!  awake' 
Shake  off  this  downy  sleep,  death's  counterfeit. 
And  look  on  death  itself  1 — up,  up,  and  see 


62  PRACTICAL  ELOCUTION. 

Tlie  great  doom's  image — Malcolm  !  Banquo  I 

Aa  from  your  graves  rise  up,  jiuJ  walk  like  sprighta, 

To  connteuanre  this  horror! 

O  Ban(iuo!  Banquo  ! — Shakspearc. 

4.  And  now  the  martyr  is  moving  in  triumjjhal  march/ 
mightier  than  when  alive. — if.  W.  Beecher. 

5.  Ye  call  me  chief;  and  ye  do  well  to  call  him  chief,  who, 
for  twelve  long  years,  has  met  U])on  the  arena  every  shape  of 
man  or  beast  the  broad  empire  of  Rome  could  furnish,  and 
who  never  yet  lowered  his  arm. — E.  Kellogg. 

For  selectionB  containing  additional  examples  of  Sustaiced 
Force,  see  Elocutionist's  Annual,  No.  6,  page  111;  No.  4, 
page  121 ;  No.  3,  page  93. 


EXAMPLES  IN  TREMOR. 


1.      Farewell !  a  long  farewell !  to  all  my  greatness. 

— Shakspeare. 

t.       "  Can  he  desert  us  thus  ?     He  knows  T  stay, 
Night  after  night  in  loneliness,  to  pray 
For  his  return — and  yet  he  has  no  tear ! 
No  !  No  !  It  cannot  be !   He  will  be  here !  " 

— Coates. 

3.  We  buried  the  old  year  in  silence  and  sadness.  To 
many  it  brought  misfortune  and  affliction.  The  wife  hath 
given  her  husband  and  the  husband  his  wife  at  its  stern  be* 
best;  the  father  hath  consigned  to  its  cold  arms  the  son  in 
whom  his  life  centered,  and  the  mother  hath  torn  from  her 
bosom  her  tender  babe  and  buried  it  and  her  heart  in  the 
cold,  cold  ground. — Edward  Brooks. 

4,  Vital  spark  of  heavenly  flame, 
Quit,  O  quit  this  mortal  frame  ! 
"Trembling,  hoping,  lingering,  flying. 
Oh  !  the  pain,  the  bliss  of  dying  ! 
Cease  fond  Nature,  cease  thy  strife. 
And  let  lue  languish  into  life  ! 

— Alexander  Pop*. 


PBINCIPLES^VOCAL  EXERCISES.  53 

5,  Save  me,  O  God,  for  the  waters  are  come  in  unto  my 
soul.  I  sink  in  deep  mire  where  there  is  no  standing  :  I 
am  come  into  deep  water  where  the  floods  overflow  me.  I 
am  weary  of  my  crying :  my  throat  is  dried :  mine  eyes  fail 
Jwhile  I  wait  for  my  God. — Bible. 


For  selections  containing  additional  examples  of  Tremor, 
see  Elocutionist's  Annual,  No.  2,  pages  9  and  151;  No.  5, 
page  14 ;  No.  1,  page  113. 


EXAMPLES  WITH  FULL  BREATHING. 


1.  I  listened,  but  T  could  not  hear — • 
I  called,  for  I  was  wild  with  fear ; 

I  knew  'twas  hopeless,  but  my  dread 
Would  not  be  thus  admonished  ; — 
I  called  and  thought  I  heard  a  sound, 
I  burst  my  chain  with  one  strong  bound, 
And  rushed  to  him. — Byron. 

2.  Rouse,  ye  Romans  !  rouse,  ye  slaves  ! 

Have  ye  brave  sons?   Look  in  the  next  fierce  brawl, 
To  see  them  die  l—Mit/ord. 

8.  Here  I  stand  for  impeachment  or  trial  1  I  dare  aecu- 
eation!  I  defy  the  honorable  gentleman!  I  defy  the  gov- 
ernment! I  defy  their  whole  phalanx  I  Let  them  coma 
forth. — Grattan. 

4.     Hence:   home,  you  idle  creatures,  get  you  home! 
You  blocks,   you   stones,    you    worse   than  senseleas 
things  !  " — Shakspeare. 


For  selections  containing  additional  examples  of  Full 
Breathing,  see  Elocutionist's  Annual,  No.  6,  page  21 ;  No.  4, 
page  124 ;  No.  1,  page  146. 


64  PRACTICAL  ELOCUTIOM, 

GYMNASTICS. 

Physical  force  and  muscular  elasticity  are  indispensable  to 
high  attaiinncut  in  vocal  development.  A  vigorous  and) 
flexible  tone  can  only  be  produced  within  a  flexible  and 
vigorous  body.  Vigor  and  flexil)ility  of  body  are  depend- 
ent upon  exercise.  It  is  a  condition  of  professional  life 
to  lack  opportunity  of  such  manual  labor  as  will  develop 
strength  of  body.  Even  if  manual  labor  were  associated 
with  intellectual,  it  would  not  give  that  synuiietry  of  form 
and  grace  of  movement  so  necessary  to  the  speaker.  Ex- 
ercises for  the  cultivation  of  physical  fctrength  and  of  easa 
in  movement,  were  held  in  high  esteem  by  the  ancients, 
and  are  latterly  receiving  a  degree  of  that  attention  which 
they  deserve. 

The  following  exercises  have  been  selected  and  adapted 
from  Prof.  Welch's  Systen^  of  Piiysical  Culture.  Such 
exercises  have  been  taken  from  the  diflerent  series  of  Free 
Gymnastics  as  are  believed  to  be  the  best  aids  in  the  develop- 
ment of  strength  of  voice  and  grace  of  action. 

FREE  GYMNASTIC  EXERCISES. 


riRST  SERIES. 

No.ofStraIi]4. 

1. 

Hands, 

. 

• 

4 

2. 

Drum-beat, 

, 

• 

• 

2 

3. 

Claps, 

• 

• 

2 

4. 

Body, 

. 

• 

* 

2 

5. 

Head, 

• 

« 

2 

6. 

Dumb-Bells, 

, 

• 

• 

1 

7. 

Clubs, 

« 

1 

8. 

Twisted  Thrusts, 

, 

• 

• 

2 

9. 

Touching  flo(jr  with  Hands, 

• 

1 

.0. 

Swaying,  Swingir 

ig  Arms, 

• 

• 

4 

PRINCIPLES — GYMNASTICS. 


66 


SECOND  SERIES. 


1.  Hand  Movements  down  and  up, 

2.  Hand  Movements  at  Sides, 

3.  Raising  Arms,  » 

4.  Swinging  Arms  back, 
5  Raising  Shoulders, 

G.  Elbows  back,  .  , 

7.  Thrusting  from  Arm-pits, 

8.  Thrusting  from  Shoulders, 

9.  Mast  Movement,  , 
10.  Attitudes, 


Note  1.  Position. — Heels  together  ;  toes  out,  so  tliat  the  feet  may  form  n 
right  angle;  head  erect;  shoulders  and  hips  drawn  back  ;  chest  forward  ;  hauaa 
naturally  at  sides,  unless  otherwise  specified. 

Note  2.  Tlme.—'^h.e  system  of  numbering  in  the  exercises  is  this:  each 
number  extends  tlirough  wliat  may  be  called  one  strain  of  4-4  music,  or  eight 
accented  and  eight  unaccented  beats;  a-id  the  time  is  kept  by  counting  the 
numerals  from  one  to  eight  for  the  heavy  beats,  and  for  the  light  beats  the 
syllable  "  and." 

Note  3.  The  hands  are  to  be  firmly  clinched,  unless  on  the  hips  or  otbaiw 
wise  specified.    All  thrusts  are  from  the  chest  unless  otherwise  specified. 


EXPLANATION  OF  FIRST  SERIES. 


HAND  MOVEMENTS. 


1.  Thrust  right  hand  down  from  the  chest  twice;  left 
twice;  alternate  twice;  simultaneous  twice. 

2.  Repeat  No.  1,  thrusting  out  at  side. 

3.  Repeat  No.  1,  thrusting  up. 

4.  Repeat  No.  1,  thrusting  in  front. 

5.  Right  hand  down  once;  left  once;  drum-heat  (right  a 
little  in  advance  of  left)  once;  sirnidtaneous  once;  same 
out  at  sides. 


56  PRACnCAL  ELOCUTION. 

6.  Repert  No.  5,  thrusting  up  and  in  front. 

7.  Iliciht  hand  down  once;  left  once;  clap  hands;  same 
out  at  sides. 

8.  Repeat  No.  7,  up  and  in  front. 

BODY   MOVK.MENTS. 

9.  Hands  on  hijis;  twist  ui^per  body  half  roiuid  to  right, 
then  to  left,  and  repeat,  stopping  each  time  in  front  on  the 
unaccented  beats. 

10.  Bend  uppei'  body  to  right  and  left  and  repeat. 

11.  Bond  f(jrward,  then  back,  and  repeat. 

12.  Bend  body  to  right,  back,  left,  front;  then  reverse, 
hending  to  left,  back,  right,  becoming  erect  only  on  last 
beat. 

HEAD  jrov k:\ien  rs. 

13.  Same  as  9,  except  that  the  head  alone  is  moved. 

14.  Same  as  10, 

15.  Same  as  11,  " 

16.  Same  as  12,  "  "  "        " 

DUMB-DELLS. 

17.  Arms  extended  in  front,  thumbs  up,  raise  hands 
about  a  foot,  and  bring  forcilily  to  shoulders. 


18.  Arms  horizontal  in  front;  raise  right  hand  to  perpen- 
dicular over  head  twice;  left  twice;  alternate  twice,  and 
einmltaneous  twice. 

TWISTED  THRUSTS. 

19.  Thrust  hands  down,  out  at  sides,  up  in  front,  twisting 
the  arms  at  each  thrust:  repeat  three  times. 


PRINCIPI.es— aVMNASTICS.  67 

TOUCHING   FLOOR  WITH   HANDS. 

20.  Thrust  hands  to  floor,  not  bending  knees ;  then  over 
head,  rising  on  toes,  opening  hands  at  each  thrust. 

SWAYING,   SWINGING  ARMS. 

21.  Stamp  left  foot,  then  right;  then  charge  diagonally 
forward  with  right ;  bend  and  straighten  right  knee  ;  at  same 
lime  throwing  arms  bacK  from  horizontal  in  front. 

22.  Repeat  No.  21,  on  left  side. 

23.  Eepeat  No.  21,  diagonally  backward  on  right  side. 

24.  Repeat  No.  21,  diagonally  backward  on  left  side. 


EXPLANATION  OF  SECOND  SERIES. 

HAND   MOVEMENTS,    DOWN   AND  UP. 

1.  Thrust  right  hand  down  and  up  alternately  through 
•sight  beats. 

2.  Repeat  No.  1  with  left  hand. 

8.    Alternate,  right  going  down  as  left  goes  up,  and  viea 
versa. 

4.  Simultaneous,  both  down,  then  both  up, 

HAND   MOVEMENTS    AT   SIDES. 

5.  Thrust  right  hand  to  right  and  left  alternately  through 
one  strain,  twisting  body  when  thrusting  to  left. 

6.  Repeat  No.  5  with  left  hand. 

7.  Thrust  both  hands  alternately  to  right  and  left,  twisting 
body. 

8.  Thrust  both  hands  to  right  four  times,  to  left  four  times. 

AJEM   MOVEMENT. 

ft.    Hands  down  at  sides ;  raise  stiff  right  arm  forward  over 


.•iS  PRACTICAL  ELOCUTION. 

head  four  times ;  left  four  times ;  ulteniato  ftmr  times  ;  simul- 
taneous four  times. 

10.  Raise  stifi"  right  arm  sideways  over  head  four  times; 
left  four  times ;  alternate  four  times ;  simultaneous  four  times, 

SWINOING    ARMS  BACK. 

11.  Arms  extended  in  front ;  swing  them  back  horizon- 
tally. 

RAISING   SHOULDERS. 

12.  Hands  at  sides  ;  raise  right  shoulder  four  times  ;  left 
four  times;  alternate  four  times;  simultaneous  four  times. 

ELBOWS   BACK. 

13.  Hands  on  hips  ;  tlirow  elbows  back. 

THRUSTING   FROM   ARM-PITS. 

14.  Fists  in   arm-pits;    Thrust  right  down  four  times; 
left  four  times ;  alternate  four  times ;  simultaneous  four  times 

15.  Fists  upon   the  shoulders ;  repeat  No.   14  thrusting 
upward. 

MAST   MOVEMENT. 

10.     Hands  over  head  ;  sway  body  to  light  and  left  alter- 
natttly. 

ATTITUDES, 

17.  Hands  on  hips,  stamp  left  foot,  then  right;   charge 
diagonally  forward  with  right,  looking  over  left  shoulder. 

18.  Repeat  No.  17,  diagonally  forward,  left  foot. 

19.  Repeat  No.  17,  diagonally  back,  right. 

20.  Repeat  No  17,  diagonally  back,  left 


PRINCIPLES— QUALITY  OP  VOICE.  6» 

QUALITY. 


The  marvellous  capacity  of  the  human  voice  arises  from 
ita  adaptation  to  the  ever-changing  phases  of  human  ex- 
pression. Under  careful  culture  it  attunes  itself  to  the 
almost  infinite  diversity  of  thought  and  feeling.  The  term. 
"  quality,"  when  applied  to  tone,  indicates  those  distinctive 
properties  or  characteristics  which  the  voice  should  assume 
under  these  varying  influences.  These  qualities  constitute,  of 
themselves,  an  unmistakable  language,  more  potent  even 
than  words,  and  should  be  carefully  cultivated  by  the  student 
as  the  very  alphabet  of  expression.  Thought  and  emotion, 
as  the  direct  emanations  of  the  heart,  embrace  not  only  the 
true,  the  beautiful,  and  the  good,  but  through  the  effects  of 
sin,  include  its  baser  passions,  and  its  weaknesses.  In  obedi- 
ence to  this  dominant  law  of  mind  and  soul,  voice  finds  ibi 
first  natural  division  into  Pure  and  Impure  qualities. 


PURE  QUALITY. 

Pure  quality  of  voice  is  the  language  of  pure  thought;  it 
oroceeds  from  the  combined  and  harmonious  action  of  all 
'he  vocal  parts,  and  is  marked  by  a  clear,  smooth,  and  com- 
vnanding  resonance,  which  is  at  once  the  result  and  the  ex- 
p(jncnt  of  a  natural  and  serene  condition  of  mind  and  body. 
In  respect  to  its  degrees  of  force  and  its  varied  field  of  ex- 
pression, it  is  divided  into  Simple  Pure  and  Orotund. 

Simple  pure  voice  is  the  voice  of  pure  conversation.  It  is 
the  basis  of  all  the  other  qualities  of  tone,  and  is  the  natural 
starting-point  of  culture.  Here  common  faults  of  voice 
must  be  overcome,  and  correct  habits  permanently  estab- 
lished ;  and  since  uj)on  the  proper  understanding  and  pro- 
duction of  this  tone  all  suljseqnent  culture  must  depend,  the 


60  ruAmcAi.  ki.ocutiok. 

possession  of;ibst)lute  purity  liore  cannot  be  too  strongly  !lni 
sistcd  upon.  The  student  should  secure  this  quality  before 
attcmptinj^  to  practice  the  impure  tones.  It  corresponds 
with  the  jj/i/'ovr/,  as  described  in  the  "Table  of  Vocal  Exer- 
cises," on  page  41,  and  the  direction  for  its  production 
there  given,  should  be  carefully  followed. 

Simple  Pure  Voice  is  used  in  simple  narration,  plain  de- 
scription, and  the  great  field  of  unemotional  language. 

Orotund  Voice  is  the  symmetrical  enlargement  of  Simple 
Pure  Voice,  and  is  produced  by  a  corresponding  expansion 
of  all  the  organs  used  in  the  production  of  natural  tone. 
Tills  quality  of  tone  in  its  full  development  may  be  justly 
termed  the  highest  character  of  human  utterance.  It  com- 
bines the  two  great  essentials  of  perfect  speech,  purity  and 
power,  and  unites  in  its  production  the  highest  purpose  of 
mind  and  the  best  condition  of  body. 

Orotund  Voice  is  the  language  of  sublime  and  exalted 
tliought,  lofty  sentiment,  and  grand  description. 

EXAMPLES  OF  SIMPLE  PURE. 


1.  Slie  was  dead.  No  sleep  so  beautiful  and  calm,  so  free 
from  trace  of  pain,  so  fair  to  look  upon.  She  seemed  a  crea- 
ture fresh  from  the  hand  of  God,  and  waiting  for  the  breath 
of  life;  not  one  who  had  lived  and  suffered  death. 

— Cliarks  Dickens. 

Two  brown  heads  with  tossing  curls, 
Red  lips  shutting  over  pearls, 
Bare  feet,  white  and  wet  with  dew, 
Two  eyes  black  and  two  eyes  blue — 
Little  boy  and  girl  were  they, 
Katie  Lee  and  Willie  Gray. 

•.     But  of  all  the  old  sweet  treasures  that  garnish  my  nest. 
There's  one  that  I  love  and  I  cherish  the  best ; 
For  the  finest  of  couches  that's  padded  with  hair 
I  never  would  change  thee,  my  caue-bottom'd  chair. 


PRINCIPI.ES— QUALITY   OP  VOICE.  61 

Tis  a  bandy-leggetl,  high-shouldered,  Avorm-eaten  seat, 
With  a  creaking  old  back  and  twisted  old  feet ; 
But,  since  the  fair  morning  when  Fannie  sat  there, 
I  bless  thee,  and  love  thee,  my  cane-bottom'd  chair. 

— Thackeray,    t 

4.    Cassius. — That  you  have  wa-onged  me  doth  appear  in  this: 
You  have  condemned  and  noted  Lucius  Pella 
For  taking  bribes  here  of  the  Sardians  ; 
Wherein  my  letters,  praying  on  his  side, 
Because  I  knew  the  man,  were  slighted  off. 

Brutus. — You  wronged  yourself  to  write  in  such  a  case. 

Cassius. — In  such  a  time  as  this,  it  is  not  meet 
That  every  nice  offence  should  bear  its  comment. 

Brutus. — Yet  let  me  tell  you,  Cassius,  you  yourself 
Are  much  condemned  to  have  an  itching  palm, 
To  sell  and  mart  your  offices  for  gold 
To  undeservers. — Shakspeare. 

5.  I  should  think  myself  a  criminal,  if  I  said  anything  to 
chill  the  enthusiasm  of  the  young  scholar,  or  to  dash  with 
any  scepticism  his  longing  and  his  hope.  He  has  chosen  the 
highest.  His  beautiful  faith,  and  his  as'piration,  are  the 
light  of  life.  Without  his  fresh  enthusiasm,  and  his  gallant 
devotion  to  learning,  to  art,  to  culture,  the  world  would  be 
dreary  enough. — Charles  Dmlley  Warner. 

6.  The  Lord  is  my  shepherd  ;  I  shall  not  want.  He 
maketh  me  to  lie  down  in  green  pastures  :  he  leadeth  me 
beside  the  still  waters.  He  rcstoreth  my  soul :  he  leadeth 
me  in  the  paths  of  righteousness  for  his  name's  sake.  Yea, 
though  I  walk  through  the  valley  of  the  shadow  of  death,  1 
will  fear  no  evil :  for  thou  art  with  me ;  thy  rod  and  thj'  staff 
they  comfort  me.  Thou  preparest  a  table  before  me  in  the 
presence  of  mine  enemies  :  thou  anointest  my  head  with  oil ; 
my  cupi  runneth  over.  Surely  goodness  and  mercy  shall 
follow  me  all  the  days  of  my  life  :  and  I  will  dwell  in  the 
house  of  the  Lord  forever. — Bible. 


EXAMPLES  OF  OROTUND. 


1.     Wlio  is  the  champion  ?  who  the  strong  ? 
Pontiff  and  priest,  and  sceptered  throng? 
On  these  shall  fall 


62  »nACTlCAL  ELOCUTIOlf. 

As  heavily  the  hand  of  Death, 

As  when  it  stays  the  shepherd's  breath, 

Beside  his  stall !         — Henry  W.  Longfellow. 


»  2.  It  took  Home  three  hundred  years  to  die ;  and  our 
death,  if  we  i)erish,  will  be  sis  much  more  terrific  as  our  in- 
telligence and  free  institutions  have  given  to  us  more  bone 
and  sinew  and  vitality.  IMay  God  hide  me  from  the  day 
when  the  dying  agonies  of  my  country  shall  begin  !  0  thou 
beloved  land,  bound  together  by  the  ties  of  brotherhood,  and 
common  interest,  and  perils,  live  forever — one  and  undivided  ! 

— Jjliman  Bfcchcr. 


3.     Not  wholly  lost,  O  Father !  is  this  evil  world  of  ours  ; 
Upward,  through  its  blood  and  ashes,  spring  afresh  the 

Eden  llowers  ; 
From  its  smoking  hill   of  bitttle,  Love  and  Pity  send 

their  prayer, 
And  still  thy  white-winged  angels  hover  dimly  in  our 

air.  — John  G.  Whiltier. 


4.  Thy  right  hand,  O  Lord,  is  become  glorious  in  power: 
thy  right  hand,  O  Lord,  hath  dashed  in  pieces  the  enemy, 
and  in  the  greatness  of  thine  excellency  thou  hast  overthrown 
them  that  rose  up  againsc  thee  :  thou  sendest  forth  tliy  wratli 
which  consumed  them  as  stubble.  And  with  the  blast  of  thy 
nostrils  the  waters  were  gathered  together  :  the  floods  s^^ood 
upright  as  an  heap,  and  the  depths  were  congealed  in  the 
heart  of  the  sea. — Bible. 


Portia — Tlie  quality  of  mercy  is  not  strained  ; 
It  droppeth  as  the  gentle  rain  from  heaven 
Upon  the  place  beneath  ;  it  is  twice  blessed  ; 
It  blesseth  him  that  gives,  and  him  tliat  takes. 
'Tis  mightiest  in  the  mightiest.     It  becomes 
The  throned  monarch  better  thaii  his  crown  : 
His  scpj)t re  ahovis  the  force  of  temporal  power, 
The  attribute  to  awe  and  majesty. 
Wherein  doth  sit  the  dread  and  fear  of  kings: 
But  mercy  is  above  this  sceptered  sway  ; 
It  is  enthroned  in  the  hearts  of  kings ; 
It  ia  an  attribute  to  God  him.self ; 


PRINCIPLES — QUALITY  OF  VOICE.  63 

And  earthly  power  doth  then  show  likest  God's 
When  mercy  seasons  justice. 

— Shakspeare. 

6.    I  do  not  fear  to  approach  the  omnipotent  Judge,  to 
answer  for  the  conchict  of  my  whole  life  ;  and  am  I  to  be  ap- 

giilled  and  falsified  by  a  mere  remnant  of  mortality  hero? 
y  you,  too,  who,  if  it  were  possible  to  collect  all  the  iimo- 
cent  blood  that  you  have  shed  in  your  unhallowed  ministry 
in  one  great  reservoir,  your  lordship  might  swim  in  it. 

— Robert  Emmet. 


IMPURE  QUALITY. 

Impure  voice  denotes  a  disturbed  condition  of  mind,  and 
results  from  a  corresponding  unnatural  and  unequal  effort 
upon  the  vocal  cords.  It  varies  in  form  and  character  ac- 
cording to  the  prevailing  trait  of  the  passion  of  which  it 
becomes  the  language. 

Impure  voice  is  subdivided  into  Pectoral,  Guttural,  Aspi- 
rated and  Falsetto. 

These  subdivisions,  with  their  natural  modifications  of 
intensity,  cover  an  important  field  of  expression.  It  should, 
however,  be  understood  that  these  divisions  are  not  arbi- 
trary creations  of  the  elocutionist,  but  are  the  natural  phy- 
sical effects  of  passion,  as  revealed  by  observation  and  study. 
It  is  an  established  physiological  fact  that  when  the  soul  be- 
comes agitated  by  some  violent  emotion,  the  nervous  im- 
pulse thus  awakened,  rushing  through  the  avenues  of  the 
body,  becomes  suddenly  the  controlling  agency  of  the  whole 
physical  system.  The  eye  flashes,  the  muscles  of  the  face 
and  arm  betray  the  newly  awakened  influence,  and,  in  sym^ 
pathy  with  this  general  physical  excitement,  the  vocal  organs 
are  disturbed,  and  the  voice  instantly  reflects  this  changed 
relation.  It  loses  its  natural  purity  and  becomes  the  agent 
and  symbol  of  the  passion  that  propels  it.  To  this  is  due  tlie 
rigidity  of  the  cords  in  the  harsh,  steely  tone  of  hatred,  their 
unnatural  tension  in  the  language  of  terror,  and  the  whola 


fi4  rRACTirAL   ELOCUTION. 

phenomena  of  voice  transition.  Indeed,  so  marked  ia  this 
physical  relation  between  passion  and  tone  that  it  is  at  once 
recognized  by  every  condition  of  man,  and  even  by  the  brute 
-creation. 

PECTORAL. 

The  Pectoral  quality  of  voice  is  used  in  the  expression  of 
remorse,  horror,  dread,  deep  solemnity,  and  in  the  represen- 
tation of  the  supernatural.  It  is  the  result  of  a  relaxed  condi- 
'tion  of  the  vocal  cords  and  a  feeble  and  lifeless  action  of  the 
abdominal  muscles. 

GUTTURAL.  «• 

The  Guttural  quality  of  voice  is  known  as  a  throat  tone. 
When  carefully  controlled,  it  is  an  element  ef  great  power 
and  energy.  It  denotes  all  those  states  of  mind  classed 
under  dislike  and  ill-humor.  It  also  appears  in  the  ferocity 
of  rage  and  revenge.  The  prominent  characteristic  of  this 
tone  is  its  harsh,  discordant  quality,  produced  by  the  com- 
pression and  partial  closing  of  the  throat  above  the  glottis. 

Note. — This  form  of  impurity  is  the  most  prevalent  fault  of  voice;  and  the 
greatest  care  should  be  taken  to  confine  it  to  the  expression  of  the  sentiment* 
above  enumerated. 

ASPIRATED. 

The  Aspirate  quality  of  voice  is  the  language  of  secrecy, 
caution,  surprise,  fear,  and  certain  forms  of  anger.  It  arises 
from  the  escape  of  unvocalized  breath  and  may  consist  of 
any  of  the  other  qualities  of  voiqe,  modified  by  strong  breath- 
ing.    It  also  includes  the  whisper, 

FALSETTO. 

Falsetto  voice  is  generally  produced  above  the  natural 
tone,  and  is  used  in  the  imitation  of  high  female  voices,  in 
the  voices  of  children,  and  in  affectation,  terror,  &c. 


PRINCIPLES — QUALITY   OF  VOICE.  65 

EXAMPLES  IN  PECTORAL  QUALITY. 


1.  I  am  thy  father's  spirit ; 

Doomed  for  a  certain  term  to  walk  the  night ; 
And  for  the  day,  confined  to  fastiti  fires, 
Till  the  foul  crimes,  done  in  my  days  of  nature. 
Are  hurned  and  purged  away.     But,  that  I  am  forbicj 
To  tell  the  secrets  of  my  prison-house, 
I  could  a  tale  unfold,  whose  lightest  word 
Would  harrow  up  thy  soul ;  freeze  thy  young  blood  ; 
Make  thy  two  eyes,  like  stars,  start  from  their  spheres; 
Thj'  knotted  and  combined  locks  to  part, 
And  each  particular  hair  to  stand  on  end, 
*Like  quills  upon  the  fretful  porcupine. 
But  this  eternal  blazon  must  not  be 
To  ears  of  flesh  and  blood.     List,  list,  Oh,  list  !— 
If  thou  didst  ever  thy  dear  father  love. 

— Shakspeare. 

2.  '    Oh,  I  have  passed  a  miserable  night, 
-•So  full  of  ugly  sights,  of  ghastly  dreams, 

That,  as  I  am  a  Christian  faithful  man, 
I  would  not  spend  another  such  a  night. 
Though  t'were  to  buy  a  world  of  happy  days, 
So  full  of  dismal  terror  was  the  time  ! 

— Shakspeare. 

3.  But  at  midnight, — strange,  mystic  hour  ! — when  the 
veil  between  the  frail  present  and  the  eternal  future  grows 
thin, — then  came  the  messenger  ! — Harriet  Beeeher  Stowe. 

4.  They'i'e  gone,  they're  gone !  the  glimmering  spark  hath 

fled  ! 
The  wife  and  child  are  numbered  with  the  dead. 
On  the  cold  earth  outstretched  in  solemn  rest, 
The  babe  lay  frozen  on  its  mother's  breast : 
The  gambler  came  at  last — but  all  was  o'er — 
Dread  silence  reigned  around  : — the  clock  struck  four  ! 

— Coates. 

For  selections  containing  additional  examples  of  Pectoral, 
eee  Elocutionist's  Annual,  No.  1,  page  37;  No.  2,  page  40; 
No.  3,  page  126 ;  No.  4,  page  115. 


PRACTICAL  ELOCUTION. 


EXAMPLES  IN  GUTTURAL  QUALITY. 


1.  I  know  the  difiicuTty  the  honorable  gentleman  labored 
under  when  he  attacked  me,  conscious  that,  on  a  compara- 
tive view  of  our  characters,  public  and  private,  there  is 
nothing  he  could  say  which  would  injure  me.  Tlie  public 
would  not  believe  the  charge.  I  despise  the  falsehood.  If 
such  a  cliarge  were  made  by  an  honest  man,  I  would  answer 
it  in  the  manner  I  shall  do  before  I  sit  down.  But  I  shall 
first  reply  to  it  when  not  made  bj'^  an  honest  man. 

— H.  GrcUtan. 

2.  I'll  have  my  bond  ;  I  will  not  hear  thee  speak  : 
I'll  have  my  bond ;  and  therefore  speak  no  more, 
I'll  not  be  made  a  soft  and  dull-eyed  fool. 

To  shake  the  head,  relent,  and  sigh;  and  yield 
To  Christian  intercessors.     Follow  not; 
I'll  have  no  more  speaking .     I  will  have  my  bond. 

— Shakspeare. 

3.  I  could  have  bid  you  live,  had  life  been  to  you  the 
same  weary  and  wasting  burden  that  it  is  to  me — that  it  is  to 
every  noble  and  generous  mind.  But  you — wretch  !  you 
could  creep  through  the  world  unaffected  by  its  various  dis- 
graces, its  ineffable  miseries,  its  constantly  accumulating 
ma.sscs  of  crime  and  sorrow, — you  could  live  and  enjoy  your- 
self, while  the  noble-minded  are  betrayed,  while  nameless 
and  birthless  villains  tread  on  the  neck  of  the  brave  and 
long-descended  ; — you  could  enjoy  yourself  like  a  butcher's 
dog  in  the  shambles,  fattening  on  garbage,  while  the  slaugh- 
ter of  the  brave  went  on  around  you  !  This  enjo^'ment  you 
shall  not  live  to  partake  of,  you  shall  die,  base  dog ! — and 
that  before  yon  cloud  has  passed  over  the  sun. — Scott, 

4.  And  it  came  to  pass  at  noon,  that  Elijah  mocked  them, 
and  said.  Cry  aloud  ;  for  he  is  a  god  :  either  he  is  talking,  oi 
he  is  pursuing,  or  he  is  in  a  journey,  or  peradventure  h€ 
Kleepeth,  and  must  be  awaked. — Bible. 

5.  From  the  heads  of  kings  I  have  torn  the  crown, 
From  the  heights  of  fame  I  have  hurled  men  down ; 
I  have  blasted  many  an  honored  name  ; 

I  have  taken  virtue,  and  given  shame ; 


PRINCIPLES — QUALITY  OF  VOICE. 

I  have  tempted  the  youth  with  a  sip,  a  taste, 
Which  has  made  his  future  a  barren  waste. 

—Ella  Wheeler. 

For  selections  containing  additional  examples  of  Guttural, 
see  Elocutionist's  Annual,  No.  3,  page  64 ;  No.  5,  page  133 ; 
No.  3,  page  140. 


EXAMPLES  IN  ASPIRATED   QUALITY. 


1.  Hark  !  they  whisper  :  angela  say, 
"  Sister  spirit,  come  away." 

What  is  this  absorbs  me  quite. 

Steals  my  senses,  shuts  my  sight, 

Drowns  my  spirit,  draws  my  breath  ? 

Tell  me,  my  soul,  can  this  be  death  ?        — Pope. 

2.  Thou  sure  and  firm-set  earth  ! 
Hear  not  my  steps,  which  way  ihey  walk  ;  for  fear 
The  very  stones  prate  ol  my  whereabout. 

— Shakspeare. 

3.  Soldiers!  you  are  now  within  a  few  steps  of  the 
enemy's  outposts.  Our  scouts  report  them  as  slumbering  in 
parties  around  their  watch-fires,  and  utterly  unprepared  for 
our  approach.  A  swift  and  noiseless  advance  around  that 
projecting  rock  and  we  are  upon  them.  We  capture  them 
•without  the  possibility  of  resistance.     Forward  ! 

4.  They  are  famished  ; 

Let  them  do  what  best  delights  them ; 
Let  them  eat,  for  they  are  famished. 

— II.  W.  Longfellow. 

5.     Ye're  there,   but  yet  I  see  you  not ;  draw  forth  each 
trusty  sword. 
And  let  me  hear  your  faithful  steel  clash  once  around 

my  board  ; 
I  hear  it  faintly; — louder  yet!     What  clogs  my  heavy 

breath  ? 
Up,  all !  and  shout  for  Rudiger,  "  Defiance  unto  death  !  "* 

— Alheri  G.  Greene. 


68  PRACTICAL   F.LOCUTION. 

For  selections  containing  additional  examples  of  Aspirated, 
see  Elocutionist's  Annual,  No.  3,  page  126 ;  No.  2,  pag» 
117 ;  No.  4,  page  163. 

EXAMPLES  IN  FALSEUO  QUALITY. 


1.  I  beg  your  pardon,  I  thought  my  father  was — or 
might  be — dear  me,  how  very  awkward  !  I  never  knew  any- 
thing happen  so  cross.  I  am  very  sorry  I  intruded.  If  I 
had  n't  thought  my  father  was  here,  T  would  n't,  upon  any  ac- 
count, have — it  is  very  provoking — must  look  very  strange ! 

— Dickens, 

2.  "  O  Ephraim  !  "  said  she,  the  tears  rolling  down  her 
cheeks  and  the  smiles  coursing  up.  "  Whj',  what  is  it,  Ara- 
mathca  ?"  said  the  astonished  Mr.  Jones,  smartly  rubbing 
his  liead  where  it  had  come  in  contact  with  the  lounge. 
"Bnby!"  she  gasped.  Mr.  Jones  turned  pale  and  com- 
menced to  sweat.  "Baby!"  "  O,  0,  O,  Ephraim  I  Baby 
has — baby  has  got — a    little    toothey,    oh  !    oh  !  " 

—Danbury  News  Man. 

3.  And  from  the  crowd  beneath,  in  accents  wild, 

A  mother  screams,  ■'  O  God  !  my  child  !  my  child  !  " 

— George  M.  Baker. 

4.    Will  the  New  Year  come  to-night,  mamma  ?    I'm  tired  of 

waiting  so, 
Mj'  stocking  hung  by  the  chimney  side  full  three  long 

days  ago. 
I  run  to  peep  within  the  door,  by  morning's  early  light, 
'Tis  empty  still — Oh,  say,  mamma,  will  New  Year  come 

to-night  ?  -—.Cora  M.  Eager. 

5.  Yes,  it  is  worth  talking  of!  But  that's  how  you  always 
try  to  put  me  down.  You  fly  into  a  rage,  and  then,  if  I  only 
try  to  speak,  you  won't  hear  me.  That's  how  you  men 
always  will  have  all  the  talk  to  yourselves :  a  poor  woman 
is  n't  allowed  to  get  a  word  in. — Douglas  Jerrold. 

For  selections  containing  additional  examples  of  Falsetto, 
see  Elocutionist's  Annual,  No.  1,  page  96 ;  No.  2,  page  46  • 
No.  5,  page  89 ;  No.  5,  page  96. 


ARTICULATION. 


Articulation  consists  in  a  correct  and  distinct  utterance  of 
the  elementary  sounds  in  syllables  and  words.  In  nearly  all  of 
the  many  definitions  given  by  lexicographers  and  elocutionists, 
the  prevailing  idea  has  been  distinctness.  While  this  idea  is  a 
proper  one,  it  is  possible  to  be  distinct  and  yet  not  correct, 
in  which  case  the  very  distinctness  makes  the  incorrectness 
more  apparent.  In  the  process  of  articulation  the  organs  of 
speech  constitute  what  may  be  termed  a  set  of  moulds,  capa- 
ble of  changing  position  at  will,  and  any  imperfection  in  the 
moulds,  or  in  their  arrangement,  will  produce  a  correspond- 
ing imperfection  in  the  utterance. 

In  articulation  as  in  morals,  we  have  to  answer  for  sins  of 
omission  as  well  as  of  commission.  Our  articulation  is  fixulty 
not  simply  in  the  incorrect  sounds  we  make,  but  also  in  the 
correct  sounds  we  too  frequently  suppress.  The  ear  should 
be  trained  to  distinguish  the  finer  shades  of  difference  in 
sounds,  and  the  organs  of  speech  should  be  carefully  and 
persistently  drilled  until  they  are  able  to  produce,  promptly 
and  with  ease,  all  the  sounds  of  the  language,  in  all  their 
varied  and  complex  combinations.  It  is  believed  that  a  care- 
ful study  and  practice  of  the  exercises  here  given  will  accom- 
plish that  result. 

As  to  the  importance  of  Articulation,  there  can  be  but  one 
opinion.  The  distinctness  and  polish  which  it  gives  to  speech 
are  quickly  recognized,  even  by  those  whose  usage  is  a  sad 
reflection  upon  that  importance. 


70  PRACTirAL   F.I.OrUTlOX. 

In  the  strict  sense  of  the  term,  Articulation  would  be 
regarded  as  a  division  or  department  of  Pronunciation  ;  but 
for  convenience  it  will  here  be  given  a  broader  signification, 
and  be  made  to  include  some  exercises  in  Pronunciation. 

Tlic  question  is  frequently  asked,  What  is  the  standard  of 
pronunciation  ?  Dr.  Worcester  says,  "  The  pronunciation 
of  the  English  language,  like  that  of  all  living  languages, 
is  in  a  great  measure  arbitrar3\  It  is  exposed  to  the  caprices 
of  fashion  and  taste.  It  is  liable  to  change  from  one  age  to 
another;  and  it  varies,  more  or  less,  not  only  in  the  different 
and  distantly  separated  countries  in  which  it  is  spoken,  but 
also  in  the  different  divisions  and  districts  of  the  same  coun- 
try. No  two  speakers  or  orthoepists,  though  inhabitants  of 
the  same  place,  would  be  likely  to  agree  in  the  pronuncia- 
tion of  all  its  words.  The  standard  of  pronunciation  is  not 
the  authority  of  any  dictionary,  or  of  any  orthoepist ;  but  it 
is  the  present  usage  of  literary  and  well-bred  society."  He 
then  proceeds  to  show  that  the  usage  of  the  best  society  in 
London  is  entitled  to  far  more  consideration  than  that  of 
any  other  city,  but  adds,  in  the  next  sentence,  that  the  usage 
of  the  best  society  in  the  place  or  district  in  which  one  resides 
is  not  to  be  disregarded.  While  the  latter  suggestion  might 
prove  a  convenience  to  many,  it  must  be  accepted  with  great 
caution.  There  are  many  districts  in  this  country,  as  well  as 
in  England,  which  can  scarcely  boast  of  much  "  best  society." 
Even  in  places  claiming  men  eminent  in  many  departments 
of  learning,  the  utter  recklessness  and  disregard  of  the  prop- 
er forms  of  spoken  language  Avhich  so  generally  prevail, 
would  render  the  '^)ronunciation  of  such  men  wholly  unwor- 
thy as  models.  Not  long  since,  a  student  remarked,  in 
justification  of  his  pronunciation,  "Our  pastor  pronounces 
c-a-lm,  Cam,  and  he  is  a  very  intelligent  man."  The  argu- 
ment is  a  very  common,  though  not  a  very  safe,  one. 

With  all  due  deference  to  Dr.  Worcester's  remark  that  the 
authority  of  any  dictionary  is  not  the  standard  of  pro- 
nunciation, we  believe  tliat  very  few  persons    in    America, 


ARTICULATION.  71 

Bearch  beyond  Webster  and  Worcester  for  their  models.  It 
I's  the  business  of  the  dictionary  to  present  the  best  usage  of 
the  best  society,  whether  it  be  that  of  London,  Boston,  or  any 
other  city.  The  revisions  of  the  dictionary  should  and  do 
'keep  pace  with  the  progress  and  changes  of  language. 
While  some  person  must  be  first,  and  some  other  person 
last,  in  this  process  of  change,  yet  Poijo's  rule  in  regard  to 
new  words  may  be  fitly  applied  here  : 

In  words,  as  fashions,  the  same  rule  will  hold  ; 
Alike  fantastic,  if  too  new  or  old; 
Be  not  th'3  first  by  whom  the  new  are  tried. 
Nor  yet  the  last  to  lay  the  old  aside. 

The  question  is  frequently  asked.  Which  is  preferred, 
Webster  or  Worcester  ?  Much  has  been  written,  and  a  great 
deal  of  time  wasted  in  the  attempt  to  prove  the  superiority 
of  one  to  the  other.  The  extent  to  which  Webster  is  used  is 
the  very  strongest  indorsement  in  itself;  and  when,  with 
that,  we  couple  the  testimony  of  the  best  scholars  in  this 
country  and  in  England,  it  seems  like  pedantry  or  bigotry 
to  say  he  is  unworthy  of  recognition  as  a  standard.  The 
extent  to  which  Worcester  is  used  is  also  the  very  strongest 
indorsement;  and  when  wo  find  him  to  be  approved  by  men 
equally  renowned,  we  must  recognize  him  as  equally  high 
authority.  The  truth  is,  they  differ  less  widely  than  many 
persons  supjiose;  and  when  they  differ,  we  have  the  advan- 
tage of  a  choice  of  pronunciation.  When  Webster  says 
eglantine  or  eglantine,  and  Worcester  says  eglantine  or 
eglantine,  they  agree,  not  only  in  recognizing  the  two  forms, 
but  also  in  showing  their  preference  for  the  first.  If  our 
respect  for  their  common  preference  be  our  controlling 
motive,  Ave  will  pronounce  the  wov^S.  ejlantine.  But  if  our 
pastor,  or  our  doctor,  or  the  judge  of  our  county  court,  or 
the  "  best  society  "  in  which  we  move,  uses  the  second  form, 
and  our  desire  to  conform  to  such  usage  is  greater  than  oui 
respect  for  the  joint  preference  of  Webster  and  WorcesteC; 
we  have  the  fullest  freedom  to  use  the  second  form. 


72  PRACTICAL  ELOCUTION. 

When  these  lexicographers  give  two  forms  each  of  pro. 
nouncing  the  same  word,  they  frequently  reverse  the  order, 
thus  difTering  in  their  preference,  and,  it  is  to  be  hoped,  for 
other  reasons-than  to  difler.  When  Webster  says  silver  or 
silver,  and  Worcester  says  sliver  or  silver,  -we  may  have  one  of 
several  motives  to  govern  our  choice.  We  may  take  the 
preferred  form  of  our  preferred  authority ;  we  may  be  gov- 
erned by  home  usage  or  our  best  society ;  or  we  may  call  in 
Smart  or  some  other  eminent  English  orthoepist  to  act  as 
umpire. 

When  Webster  gives  two  forms  and  Worcester  gives  but 
one,  or  r/ce  versa,  if  the  one  form  agrees  with  either  of  the 
two  forms  of  the  other  authority,  as  in  most  instances  it  will, 
theix  the  weight  of  authority  would  seem  to  be  in  favor  of  the 
form  which  they  give  in  common.  Yet  if  home  usage  is  in 
harmony  with  the  other  form,  that  usage  may  assert  its  privi- 
lege even  to  the  exclusion  of  the  other  authority.  If  Webster 
says  vase  (pronounced  vace)  and  Worcester  says  vase  (pro- 
nounced vaze)  or  vase,  the  weight  of  authority  seems  to  be  in 
favor  of  vase  (pronounced  vace)  yet  home  usage,  or  a  third 
orthoepist,  may  decide  otherwise. 

If  Webster  says  ctm^-ent  or  ce-ment^,  and  Worcester  says 
cPm^-ent,  the  case  is  clearer,  for  Worcester's  only  form  agrees 
witli  Webster's  preferred  form  ;  yet  even  here,  home  usage, 
or  a  third  orthoepi.st,  or  both  combined,  may  decide  in  favor 
of  ce-inenf.  When  Webster  says  somber  and  Worcester 
sombre,  we  are  compelled  to  make  a  choice,  and  will  make  it, 
dou})tless,  by  some  of  the  methods  already  suggested. 

Most  persons  use  but  one  dicti(jnary,  and  will,  therefore, 
follow  tlie  dictum  of  that  one,  but  in  these  daj's  of  cheap 
books  and  close  attention  to  forms  of  pronunciation,  it  would 
be  well  to  have  not  onl}^  a  quarto  edition  of  one  of  our  stand- 
ard lexicographers,  but  also  one  of  the  better  abridged 
editions  of  the  other.  This  is  necessary,  not  so  much  to 
assure  ourselves  that  we  are  right,  for  we  may  be  right  by 
the  use  of  c>ne  dictionary,  but  rather  to  be  assured  that  our 
nfeighbor   is   not   wrong.     In   our  study   of   pronunciation, 


ARTICULATION.  73 

instead  of  trjdng  to  be  strictly  in  harmony  with  one  of  the 
recognized  authorities,  and  ignoring  the  other,  Ave  should 
aim,  rather,  to  be  not  opposed  to  both.  The  reader  will 
observe  that  in  this  discussion,  wo  have  had  reference  sim- 
ply to  Pronunciation. 

The  change  from  an  old  form  of  pronunciation  to  a 
new  one  is  always  attended  with  discomfort  for  a  while.  It 
is  like  donning  a  new  hat  or  wearing  a  pair  of  shoes  for  the 
first  time.  We  feel  ill  at  ease,  and  imagine  everybody  recog- 
nizes our  discomposure.  But  the  new  form,  by  constant 
use,  grows  to  fit  the  mouth,  as  the  new  shoes  become  easy 
to  the  feet.  To  one  who  has  pronounced  c-a-l-f,  kaf,  for 
many  years,  the  change  to  kdf  nvAy  make  him  feel  not  unlike 
that  animal  for  a  time,  but  a  knowledge  of  the  fact  that  the 
latter  form  alone  is  right  should  stimulate  him  to  overcome 
all  opposing  difficulties.  The  first  thing  necessary  is  the 
acquaintance  of  the  ear  and  its  acceptance  of  the  new  form  ; 
for  the  ear,  like  timid  children,  will  not  receive  a  stranger 
willingly.  Many  repetitions  of  the  new  form  aloud,  will 
beget  ease  in  its  utterance,  and  accustom  the  ear  to  its  sound, 
and  after  much  private  practice  of  this  kind,  the  learner 
need  not  hesitate  to  use  it  in  conversation  or  reading.  Con- 
fidence is  victory;  timidity  defeat.  If  the  student  will  make 
it  a  habit  to  consult  the  dictionary  whenever  he  hears  a  form 
of  pronunciation  unlike  his  own,  and  make  a  careful  list  of 
the  words  in  which  his  usage  is  incorrect,  and  correct  those 
words  in  the  manner  suggested  above,  he  will  find  his  ear 
and  his  tongue  keeping  pace  in  the  new  work,  the  former 
acquiring  the  power  to  discriminate  very  closely,  and  the 
latter  the  power  to  make  the  finer  distinctions  with  ease,  so 
that  that  which  at  first  may  be  a  task,  will  grow  to  be  a 
source  of  never-failing  delight. 


74  PRACTICAL  ELOCUTION. 

EXERCISES  IN  ARTICULATION, 

With  Suggestions  to  Teachers  and  Students. 


The  following  exercises  were  arranged  several  yeara  ago, 
for  use  in  the  classes  of  the  Kational  School  of  Elocution  and 
Oratory,  with  no  thought  of  their  appearance  in  a  book. 
Tlie  matter  was  gathered  from  various  sources,  some  of  it 
l)eing  used  without  change,  while  much  of  it  has  been  given 
new  shape  and  adapted  more  fully  to  our  purpose.  Tlio  old 
and  the  new  have  been  so  thoroughly  mingled,  that  to-day  it 
would  be  difficult  to  make  acknowledgment  where  acknowl- 
edgment might  be  due.  When  every  claira  has  been  satisfied, 
it  is  believed  enough  will  still  remain  to  commend  the  ex- 
ercises to  all  who  aspire  after  correct  and  distinct  enuncia- 
tion. 

To  some,  the  arrangement  may  seem  illogical  and  the 
exercises  disjointed,  but  it  must  be  remembered  that  this 
does  not  aim  to  be  a  systematic  treatise  upon  the  theory  of 
articulation,  but  rather  a  series  of  practical  and  progress- 
ive exercises,  designed  to  promote  good  articulation.  These 
exercises  have  been  thoroughly  tested  in  the  class-room  and 
their  value  fully  estaljlished. 

A  thorough  acquaintance  with  the  elementary  sounds  of 
the  language  lies  at  the  foundation  of  good  articulation. 

Instead  of  presenting  the  table  of  elements  at  the  outset, 
experience  has  shown  that  it  is  better  to  lead  the  student  to 
that  closer  discrimination  which  the  table  involves,  by  a 
careful  system  of  spelling  exercises.  This  inductive  method 
greatly  simplifies  the  task  by  showing  the  student  that  the 
analysis  or  spelling  is  nothing  more  than  simply  separating 
the  sounds,  which,  in  combination  he  has  long  been  accus- 
tomed to  use. 


ARTICULATION — PHONIC  ANALYSIS.  75 

The  division  into  lessons,  here  indiciited,  is  not  essential, 
being  a  mere  matter  of  convenience  iu  our  classes  as  adapt- 
ed to  the  length  of  the  recitations. 


To  THK  Teacher. — In  the  spelling  exercises,  have  the  class  pronounce  tie 
word  mal  in  a  firm  conversational  tone.  Then,  prolong  the  word  several 
seconds,  being  careful  to  distribute  the  time  as  equally  as  possible  upon  the 
several  sounds.  The  t  sound  cannot  be  much  prolonged,  but  it  should  be  made 
sharp  and  clear.  The  m  should  be  as  long  as  the  a.  This  will  set  out  the  several 
sounds  in  the  word  conspicuously,  and  prepare  the  student  for  the  third  step, 
which  is  the  analysis.  In  the  prolonged  form  it  is  wt-11  to  use  the  monotone,  so 
that  the  slide  or  inflection  may  not  call  the  attention  away  from  the  fiual 
sound.  When  the  word  has  been  thus  pronounced,  have  the  class  reproduce 
the  first  sound  alone,  then  the  second,  then  the  third.  If  the  first  be  glTcn 
correctly  and  the  second  incorrectly,  set  aside  the  m  sound,  and  have  theni  re- 
peat what  remains  of  the  word  (al),  listening  closely  for  the  f5rst  sound  uow 
made.  Proceeding  slowly  and  carefully  in  this  way,  the  student  will  soon 
come  to  enjoy  what  will  be  to  him  the  discovery  of  a  new  power.  lusl.st  upon 
his  ignoring  the  letters,  and  have  him  depend  entirely  upon  the  sound.  For 
this  purpose  the  teacher  should  pronounce  the  words  of  the  first  lesson  wlltiouS 
the  students  having  seen  them  previously,  or  even  seeing  them  at  the  time  ol 
spelling.  The  simplest  words  have  been  selected,  and  some  of  the  sounds  are 
frequently  repeated  so  as  to  make  the  task  as  light  as  possible.  The  five  etejis 
in  the  proce.ss  of  phonic  analysis  are  as  follows :  1st.  Teacher  prouounc.i  the 
word  in  a  firm,  natural  tone.  2d.  Class  pronounce  the  word  in  the  samb  tone 
as  nearly  as  possible.  3d.  Class  prolong  the  word.  4lh.  Class  utter  the  separate 
sounds  of  the  word.  5th.  Class  pronounce  the  word  in  a  simple,  natural  man- 
ner. The  word  having  been  pronounced  by  the  teacher,  the  work  of  the  duse 
may  be  suggested  to  the  eye  by  the  following  arrangement: 

mat 

m  -  -  a  -  -  t 

mat 

mat 

The  last  stop  is  designed  to  give  greater  completeness  to  the  process  of  analy» 
Bis.  Without  it,  the  work  would  seem  unfinished.  If  the  pupils  have  much 
difficulty  iu  properly  prolonging  the  word,  or  in  separating  the  sounds  afte* 


76  PRACTICAL   ELOCUTION. 

prolonging  It,  have  them  repeat  the  process  a  number  of  times,  enlarging 
slightly  at  first  and  Increasing  in  length  each  time  until  the  st-veral  sounds 
hang  together  hy  so  feeble  a  thread  that  they  may  be  readily  separated.  This 
way  be  represcuted  thus : 

mat 


m 

-    a 

-      t 

m    - 

-    a 

-   -    t 

m     - 

-     a 

-      -     t 

m     - 

a 

-       -     t 

m       -       - 

a 

-       -       t 

m 

a 

.       t 

m 

a 

mat 

t 

The  exercises  may  be  nicely  varied,  and  with  great  interest  and  profit  too,  hy 
tbf  fcn]ploym(3nt  of  the  synthetic  method,  the  teacher  giving;  the  several  sounds 
of  a  word  widely  separated,  and  requiring  the  class  to  put  them  more  and  more 
closely,  until  they  combine  to  form  the  word.  This  process  may  be  r«pregeuted 
to  the  eye  by  reversing  the  above  arrangement,  thus: 

Teacher : 


Class: 


m                            a 

t 

m       .        .           a 

.       t 

m       -       -         a 

-       -       t 

m     -       -       a 

-        -     t 

m     -     -     a 

-      -     t 

m    -    -    a 

-    -    t 

m     -     a 

-     t 

mat 

After  the  words  have  been  spelled  in  concert,  they  should  be  respelled  by  the 
Individual  members  of  the  class. 

The  second  exercise  of  this  lesson  is  designed  to  give  practice  in  the  use  of 
the  sound  oitch,  and  is  especially  designed  for  those  who  say  wot,  u-en,  wich,  wile, 
wy,  for  what,  tvhen,  ir/iich,  while,  why.  Believing  that  a  single  short  exercise, 
mnuj  times  repeated  and  tlioroughly  mastered,  will  give  greater  strength  and 


ARTICULATION — PHONIC  ANALYSIS. 


77 


skill  than  many  long  and  intricate  ones,  wo  recommend  that  a  few  simple 
•exercises  be  committed  to  memory.  Th(?r  are  thus  available  at  any  time,  and 
will  often  be  practiced  when  they  would  not  be  if  their  practice  depended  upon 
having  the  book  in  hand. 

1.     Spell  by  sound — 


mat 

lap 

jam 

hem 

fit 

cog 

nut 

cut 

yelp 

fat 

ham 

ten 

get 

hip 

fog 

fun 

rum 

bold 

Bat 

pan 

net 

sin 

fig 

hop 

tub 

vat 

dust 

fan 

man 

set 

pin 

rim 

log 

gum 

wag 

wend 

rat       kes 


sit 


sip     mug     sun       zest       gill 


2.     Commit  to  memory — ■ 

What  whim  led  White  Whitney  to  whittle,  whistle,  whis- 
per, and  whimper  near  the  wharf,  where  a  floundering  whale 
might  wheel  and  whirl? 


II. 


To  THE  Teacher. — The  observations  in  the  first  lesson  will  apply  with  equal 
force  to  the  first  and  third  divisions  of  this.  The  second  exercise  has  a  double 
purpose.  By  a  gradual  inductive  process  we  pass  from  simple  monosyllables 
containing  the  long  and  short  vowel  souuds  to  those  sounds  as  'ndividual  ele- 
ments. Wo  also  lay  a  oasis  tor  a  scries  of  exercises  continued  ttrough  a  num- 
ber of  lessons,  the  advantage  of  which  exersises  will  become  more  ap,  nt  as 
we  proceed.  Be  careful  to  have  the  class  give  the  short  vowel  sounds  correctly; 
the  long  vowel  sounds  will  present  but  little  difficulty. 


1.     Spell  by  sound — 


band 

glad 

rant 

span 

tramp 

shad 

cash 

chat 

flag 

smash 

that 

thrash 

bench 

jest 

kept 

trench 

thick 

went 

whelp 

inch 

fish 

midst 

whist 

swim 

swing 

thong 

flog 

prompt 

blush 

bunch 

snug 

sham 

chum 

thump 

shrub 

child 

both 

charm 

marsh 

yard 

bald 

Bait 

bush 

broil 

ground 

push 

spoil 

BOUth 

whale 

twine 

thrive 

thine 

flume 

flute 

78  PRACTICAL  ELOCunoir. 

2.    Pronounce  firmly —  mate    mete    mite    mote     mufc« 
Pronounce  firmly —   mat      met      mit      mot      mut 

Alternate  several  times — 

mate    i    mete    l    mite    I    mote      I    mute    I    boon    |    boil 
mat      I    met      |    mit      I    mot        1    mut      |    book    |    bout 

Dropping  the  first  sound  in  the  above  words,  repeat — 

ate      I      ete      I      ite      l      ote      I      ute      I      oon      I       oil 
at        I      et        I      it        I      ot        I      ut        |      ook      \       out 

Dropping  the  last  sound  in  tlie  above  words,  repeat — 

a        I        e        I        i        I        6        I        ii        I        6o        I        o{ 
ilfilloflldolou 


3.     Commit  to  memory — 

Amidst  the  mists  and  coldest  frosts, 
With  stoutest  wrists  and  loudest  boast^ 
He  thrusts  his  fists  against  the  posts, 
And  still  insists  he  sees  tlie  ghosts. 


7y 

JLBTICULATION.  ' 


m. 


To  THE  Teacher.— The  sounds  of  ft,  d,  g,  w  and  y  are  generally  regarded 
difficult  by  beginners.  The  prolonged  form  of  the  consonant,  suggested  in  the 
first  exercise,  will  render  them  easy  of  acquisition.  By  g  is  meant  the  hard 
sound,  as  in  go,  not  as  in  f/en.  The  sound  of  wU  is  equivalent  to  wob ;  and  the 
sound  of  yob,  to  yU.  In  the  second  exercise  be  very  careful  that  the  short  vow- 
els  are  made  correctly.  The  third  exercise  is  designed  to  give  vigor  and 
flexibility  to  the  muscles  of  the  mouth.  In  the  fourth  exercise,  begin  slowly 
and  carefully,  and  increase  to  a  rapid  utterance.  Make  no  pause  between  the 
words  of  a  line,  and  only  a  slight  pause  at  the  end  of  the  line.  In  the  lifth  ex- 
eriise,  have  the  class  give  separately  and  vigorously  the  sounds  represented  liy 
the  letters  in  Italics,  then  the  combination  as  a  whole,  after  which,  bring  out 
the  combination  prominently  in  the  words  that  follow.  The  letters  of  the 
Italic  combination  are  not  always  the  same  as  those  representing  the  combina- 
tion in  the  word,  but  the  sounds  are  the  same,  and  the  Italics  are  the  better 
representatives  of  the  sounds. 

1.  Utter  firmly  the  following  exercise,  dwelling  upon  the 
consonant  element,  and  ending  the  vowel  abruptly — 


ba 

be 

bi 

bo 

bu 

b65      ' 

boi 

ba 

b6 

U 

bo 

bfi 

boo 

bou 

Substitute  for  b,  in  the  last  exercise,  d,  g,j,  I,  n,  iv,  y. 

2.  Pronounce  firmly — a  e  i  o  u  oo  oi  |  it  6  I  5  ii  06  ou 

3.  Utter  the  following,  slowly  and  carefully  at  first,  and 
increase  to  a  very  rapid  utterance — 

ba-pa  I  be-pe  I  bi-pi  I  bo-p6  I    bu-pii  I  boo-poo  •  boi  -poi 
ba-pii.  1  bc-pc  I  bi-pl  I  b5-p6  |    bii-pii  I  bdo-poo  I  bou-pou 

Also — da-ta  |  va-fa  |  ja-cha. 

4.  Commit  to  memory — 

ceaseth,  approacheth,  rejoiceth,  ceaseth, 
approacheth,  rejoiceth,  ceaseth,  approacheth, 
rejoicetli,  ceaseth,  approacheth,  rejoiceth. 


PRArxifAL   EIX)CUTIO». 


5.     Subtonic  Combinations 

bd     robbed,  robed 
(fd    bragged,  dragged 
Vfjd  banf,ed,  hanged 
vjd  singed,  tinged 
Ijd    bulged,  divulged 
ndz  lands,  mends 


thz    sheathes,  breathe* 
thd   sheathed,  breathed 
Imz  elms,  films 
zm    cliasm,  prism 
zmz  sjiasms,  schisms 
en     risen,  dozen. 


IV. 


To  THE  Teacher. — It  is  desirable  tliat  the  table  of  elementary  sounds,  with 
their  key  words,  be  committed  to  memory.  This  need  not  be  aecoraiilished  in 
one  lesson,  nor  in  five,  but  should  be  kept  in  mind,  so  that  with  a  little  special 
•tudy,  together  with  the  reviews  hereafter  to  be  given,  the  work  will  be 
achieved  without  much  effort.  For  the  convenience  of  the  student  the  nota- 
tion of  Webster  and  of  Worcester  is  presented  in  its  application  to  the  voico 
sounds.  For  the  purpose  of  drill,  have  the  class  pronounce  firmly  each  key 
word  under  Voice  Sounds  twice,  thea  utter  the  sound  of  the  vowel  twice.  After 
the  entire  list  has  been  disposed  of  in  this  manner,  repeat  the  list,  giving  the 
key  word  once  and  the  sound  twice.  Repeat,  giving  the  vowel  sounds  only,  but 
uttering  each  twice.  Proceed  in  like  manner  with  the  Breath  and  Union 
Sounds.  The  distinguishing  character  of  the  vowel  sounds  in  the  coalesccnts 
or  inseparables — ar,  er,  or,  and  nr — depends  entirely  upon  the  r.  Although  the 
vowel  sounds  may  be  given  alone,  or  may  even  be  combined  with  other  sounds 
than  r,  yet  the  fact  remains  that  in  English  words  those  vowel  sounds  are  in- 
Beparably  combined  with  r.  For  tl.is  rea.son  it  is  suggested  that  the  two  sounds 
be  joined  and  considered  as  one,  just  as  the  diphthongs  oi  and  ou  ure  regarded 
as  single,  though  not  simple  sounds.  For  the  convenience  of  the  student  th« 
names  of  the  diacritical  marks  or  symbols  are  given. 

1.    The  elementary  sounds  are  classified  according  to  the 
material  of  which  they  are  made. 

Voice  Sounds  are  those  which  are  made  of  voice. 
Breath  Sounds  are  those  which  are  made  of  breath. 
Union  Sounds  are  those  which  unite  voice  and  breath  in 
one  element. 


ARTICULATION — ELEMENTARY   SOUNDS.  81 

2.    Commit  to  memory — 

TABLE  OP  ELEMENTAEY  SOUNDS. 


Voice  Sounds. 

Webster. 

Worcester. 

Webster. 

Worcestwfc 

1 

A 

a 

le 

A 

•12 

u 

M  se        U 

2 

A 

a 

t 

A 

13 

u 

u  p          Jj 

3 

A 

a 

1ms 

A 

14 

00 

1    00  ze       6 

4 

A 

a 

11 

A 

15 

00 

1  00  k        u 

5 

A 

a 

sk 

k 

16 

OI 

oi  1         6i 

6 

E 

e 

ve 

E 

17 

OU     GU  t            6d 

7 
8 

i 

e 
i 

Ik 
ce 

i 

18 

A 

f  or  e         A 

9 

I 

i 

n 

I 

19 

g 

er  se 

10 

6 

0 

Id 

6 

20 

or  b 

11 

o 

0 

n 

5 

21 

0 

itr  n         u 

- 

Breath  Sounds. 

1 

/an 

4 

2)  in 

8    s^  am 

o 

A  at 

5 

8  un 

9    thin 

3 

yfcid 

6 

7 

t  an 
c^  in 

10  n^  en 

Union 

Sounds. 

1 

2 

6  oy 
d  ay 

6  m  an 

7  n  ot 

11  y oke 

12  5;  ono 

3 
4 
5 

j  udge 
^  one 

8  r 

9  V 
10    w 

oani 

an 

e 

13  a  «  ure 

14  th  aa 

15  so  iig 

DIACRITICAL  POINTS 

,. 

. 

Macron. 

•  • 

Diferesis. 

V 

Breve. 

A 

Caret. 

«• 

Tilde. 

X 

Obelisk. 

Period 

PRACTICAL  ELOCUTION. 


V. 


PRACTICAL  HINTS  UPON  A  FEW  VOICE  SOUNDS. 


To  THE  Teacher. — Careful  and  frequent  practice  upon  the  words  given  ai 
examples  and  as  exercises  in  this  lesson  will  be  profitable.  The  student  should 
bo  urged  to  increa.se  the  list  of  examples  under  each  of  the  sections,  as  ex- 
amples are  furnished  in  his  conversation  and  reading,  especially  adding  those 
in  which  his  usage  is  faulty. 

1.  Italian  a.  (a)  when  not  followed  bj-  r  is  frequently  mis- 
pronounced. Examples — balm,  calm,  palm,  psalm,  calf, 
half,  ha,  wrath,  aunt,  laugh,  launch,  mustache. 

2.  Fifth  a  (A  or  a)  occurs  chiefly  in  monosyllables  ending 
in  ff,  ft,  ss,  st,  sk,  sp,  nee,  nt.  The  following  list,  with  their 
derivatives,  will  furnish  abundant  practice  : — 


quaff 

shaft 

blast 

pasture 

mask 

enhance 

stafT 

waft 

fast 

pilaster 

task 

glance 

abaft 

amass 

bombast 

plaster 

asp 

lance 

aft 

surpass 

contrast 

cast 

clasp 

prance 

after 

alas 

disaster 

vast 

grasp 

trance 

craft 

brass 

aghast 

repast 

gasp 

ant 

draft 

mass 

ghastly 

ask 

hasp 

chant 

draught 

pa.ss 

last 

bask 

rasp 

grant 

graft 

lass 

mast 

ba.sket 

advance 

pant 

haft 

gra.ss 

mastiff 

cask 

answer 

slant 

raft 

glass 

past 

casket 

chance 

blanch 

rafter 

class 

pastor 

flask 

dance 

branch 

3.  Short  0  (o)  is  often  incorrectly  sounded  like  broad  a 
(a  or  a).  Examples — on,  gone,  dog,  off,  often,  soft,  soften, 
long,  prong,  song,  strong,  thong,  throng. 


ARTICULATION — PHONICS.  88 

4.  liOng  u  (u)  i3  often  incorrectly  sounded  like  long  oo 
(6&  or  6)  when  preceded  by  d,  g,  j,  I,  n,  s,  t,  ch,  th,  wh,  z. 
Examples — dubious,  duty,  duke,  duet,  dew,  due,  duel,  dupe, 
gewgaw,  gubernatorial,  June,  juice,  jubilant,  jubilee,  junior, 
juniper,  jurist,  lute,  Lucifer,  lunacy,  lurid,  lucid,  lucre,  lumin- 
ous, new,  neuter,  nucleus,  nuisance,  numeral,  nutriment, 
Buit,  suitor,  suet,  sue,  sudorific,  suicide,  superintend,  tune, 
tube,  tunic,  Tuesday,  tureen,  tulip,  tumult,  chew,  chusite, 
thews,  whew,  whewer,  zuche,  azumea. 

5.  After  r,  sh,  and  w,  long  n  (u)  represents  the  sound  of 
long  00  (oo).  Examples — rude,  brute,  fruit,  shude,  shute, 
sure,  issue. 

6.  The  coalescent  ar  (a  or  A  with  r),  as  in  pare,  should  not 
bend  too  much  toward  long  a  (a),  as  in  payer,  nor  yet  to- 
ward short  a  (I),  as  in  parry. 

7.  The  coalescent  er  (6  with  r)  should  be  carefully  distin- 
guished from  «/•  (t)  or  u  with  ?•).  Exercise — yes,  sir;  no,  sir; 
prefer,  verge,  verse,  mercy,  ermine, — fir,  fur;  earn,  urn;  bird, 
burred ;  serge,  surge. 

8.  The  vowel  in  the  coalescent  or  is  more  open  than  long 
0  (5),  but  not  so  open  as  broad  a  (a  or  a).  Examples — for, 
more,  corn,  borne,  lord,  stork,  pour,  George,  board,  mourn, 
door.  But  when  or  occurs  in  an  accented  syllable,  followed 
by  a  vowel,  or  by  another  r,  in  a  word  not  a  derivative,  it  has 
its  regular  short  sound  (6).  Examples — foreign,  oi'ange,  tor- 
rid, coronet,  coral,  correlate,  corridor. 

9.  The  coalescent  ur  occurs  in  monosyllables  when  not 
followed  by  a  vowel;  in  accented  syllables  with  r  final,  or  r 
followed  by  one  or  more  consonants  different  from  itself; 
and  in  derivatives  from  either  of  those  classes.  Examples — • 
cur,  fur,  furl,  hurt,  burst,  purr, — recur,  curfew,  furlong,  dis- 
bursed,— currish,  furry,  purring,  recurring.  This  sound 
should  be  carefully  distinguished  from  short  u  (u)  before 
r  Id,  such  word*  *i3  curry,  hurry,  burrow,  currant,  current. 


d4 


PRACTICAL   ELOCUTION. 


VT. 

To  THB  Tbacher. — ^The  Irng  and  short  vowel  sounda  are  designed  to  be  use* 
fn  tho  second  section  of  this  lesson  as  in  the  third  section  of  lesson  III.  The 
third  section  of  this  lesson  has  been  explained  under  the  fifth  section  of  lesson 
III,  and  the  fourth  section  under  the  first  section  of  lesson  I.  As  few  persons 
pronounce  all  of  the  words  of  the  fifth  section  of  this  lesson  correctly,  it  should 
\yi  practiced  with  great  care. 


1.  Review  Voice  Sounds,  first  with  key  words,  tlien  witl> 
out  key  -^ords. 

2.  ba-pa  |  da-ta  |  va-fa  |  ttia-tha  |  ja-cha  |  gsa-ksa,  first 
with  accent  on  first  syllable,  then  with  accent  on  second 
syllable. 

3.— 


Idz      molds 

,  folds 

ps 

taps,  sips 

rbd     orbed. 

,  absorbed 

pi 

rapt,  slept 

rjd     urged, 

,  verged 

sps 

grasps, 

wasps 

rdz     cards. 

words 

spt 

clasped 

I,  lisped 

rlz      purls. 

girls 

sks 

asks,  risks 

rid     furled. 

,  world 

skt 

tasked. 

frisked 

rmz    arms. 

firms 

ths 

truths. 

withes 

rmd   charmed,  squirmed 

m 

withed 

,  scathed 

rvz     carves 

,  serves 

sts 

mists. 

posts 

rvd     starved,  curved 

kts 

acts,  picta 

4.     Spell  by  sound- 

Aaron 

hough 

fault 

sa^ 

is 

hawk 

earth 

broad 

dost 

blood 

pretty 

love 

spoon 

said 

read 

gauge 

sergeant 

haunt 

feud 

grew 

been 

beau 

captain 

ceil 

gui 

aranty 

fin an CO 

heart 

now 

new 

sle: 

ight 

deign 

yeoman 

deep 

chair 

book 

daunt 

plaid 

shoe 

what 

eye 

guard 

aisle 

swear 

gain 

could 

bear 

wolf 

knowledge 

girl 

any 

sought 

there 

hautboy 

does 

beauty 

people 

ARTICULATION — PHONICS.  S5 

5.  For  tlie. hundredth  time  he  spoke  of  lengths,  breadths, 
widths,  and  depths. 

He  adds  fourths,  fifths,  sixths,  sevenths,  eighths,  ninths, 
tenths,  elevenths,  and  twelfths  with  skill. 


VII. 

To  THE  Teacher. — The  first  exercise  of  this  lesson  is  designed  to  show  how 
different  letters  and  comliinatious  of  letters  are  used  to  represent  the  same 
sound.  The  words  should  be  used  as  an  exercise  in  phonetic  spelling,  the 
student  in  each  case  pointing  out  the  equivalent. 

1  — Equivalents : 

a  sail,  gauge,  ]ay,  great,  deign,  the^/,  melee, 

S.  plaid,  guaranty. 

a  daunt,  heart,  guard,  sergeant. 

a*  pawse,  law,  groat,  sought. 

a*     No  equivalents. 

e     "Weak,  seize,  people,  ke?/,  brief,  pique,  seek. 

6     any,  said,  sa^s,  dead,  heifer,  leoi)ard,  friend,  guess,  bury. 

1      aisle,  sleight,  e?je,  die,  choir,  guide,  buy,  try. 

I      English,  been,  sieve,  women,  busy,  build,  sj/mbol,  captain, 

tortoise. 
6     hautboy,  beau,  yeoman,  seiv,  boat,  hoe,  soul,  Aow. 
6     hough,  kno;dedge,  what. 
u     beauty,  feud,  deu;,  adiett,  vi'ctc,  yowr,  cue,  suit. 
G     does,  love,  joung,  blood, 
oo  slioe,  soup,  rheum,   drew,   do,    canoe,    manoeuvre,    rwdtj, 

recruit. 

66  wolf,  would,  pull. 

oi  jov. 
ou  now, 

ar  hair,  bear,  where,  their,  Jaron, 

er  earnest,  mirth,  m_*/i'i'h,  guerdon. 

or  extraordinary,  George,  board,  mourn, 

or  worm,  journey. 


86 


PRArxirAL   ELOCUTION. 


2. — Affix  the  long  and  sliort  vowels  as  in  previous   exei> 
rises,  and  accent  the  first  and  third  syllables : 

//         /////  / 

b-p-b-p  I  d-trHl-t  I  v-f-v-f  I  th-th-th-th 

/         /  //  //// 

j-ch-j-ch  I  gs-ks-gs-Ls  [  w-v-w-v  1  v-w-v-W 


VIII. 


To  THK  Teacher. — Cognates  are  sounds  requiring  the  same  position  of  the 
Tocal  organs.  The  first  of  each  pair  is  a  Breath  Sound,  the  second  a  Union 
Sound.    The  distinction  should  be  carefully  marked. 

The '^A)atrasts  require  preat  precisioc  in  thoir  utterance.  Careless  speakers 
make  little  or  no  difference  in  their  pronunciation. 

1.  Review  Union  Sounds  first  with  key  words,  then  with- 
out key  words. 

2.  Cognates — 


/,  V,    fast,  vast 

ch,j, 

chest,  jest 

k,g,    ki\\,g[\l 

sh,  s, 

Ashur,  asure 

p,  b,    pare,  bare 

th,  th, 

tlugh,  thy 

s,  z,    seal.  z^a\ 

tvh,  to, 

whit,  wit 

t,  d,     t'rniQ,  rfime 

3.     Contrasts — 

prince,  prints             tracks 

,  tracts 

tens,           tend* 

mince,  mints             axe, 

acts 

wrens,        rends 

sense,     cents              sex, 

sects 

fens,            offends 

dense,    dents             ducks,  ducts 

relics,         relicts 

tense,     tents              false, 

fliults 

instance,    instants 

cha.i»c©,  chants          refiex, 

reflects 

incidence,  incident* 

ARTICULATION — PHONIC 

ANALYSIS. 

87 

4.    Spell  by  sound — 

bitumen 

borealis 

ate 

wiseacre 

stolid 

bequeath 

single 

do 

viscount 

strata 

bouquet 

sugar 

ink 

truculent 

splenetic 

circuit 

coffee 

brew 

tyrannic 

spouse 

blackguard 

uncle 

truths 

transition 

squalor 

blouse 

finger 

troche 

trilobite 

sojourn 

bronchitis 

sure 

swarthy- 

tartaric 

sepulture 

placard 

truffle 

talc 

telegraphy 

sardonyx 

blatant 

tribunal 

tepid 

suffice 

research 

5.    Affix  the  long  and  short  vowels  as  in  previous  exer- 
cises. 

Accent  the  first  and  fourth  syllables — 

w-v-v-w  I  v-w-w-v. 
Accent  the  second  syllable — 

w-v-v-w  I  v-w-w-v  I  tii-th-th-th  |  th-th-tii-th. 

Accent  the  fourth  syllable — 

/  /  /  , 

b-d-p-t-p  I  w-v-f-v-w  I  th-th-s-sh-th  |  j-ch-gs-ks-k. 

Without  accent — 

sf-ksth-ksth  I  ksth-sf-ksth  I  sfksth-ksthsf. 


6.     Pronounce  carefully,  as  indicated 


mf, 

nymph,  lymph 

hist, 

(Iths, 

widths,  breadths 

bdst, 

bst, 

rob'st,  prob'st 

dlst, 

Ikt, 

milked,  bilked 

gist, 

Iths, 

healths,  wealths 

gdst, 

Ifths, 

twelfths 

jdst, 

Icht, 

filched,  mulched 

Idst, 

nths, 

months,  plinths 

Imst, 

V(jths, 

lengths,  strengths 

Ivst, 

that, 

sheath'st,  breath 'st 

Ipst, 

in  III.,  5— 

troul)rst,  doubl'st 
rob'dst,  prob'dst 
cradl'st,  saddl'st 
struggl'st,  smuggl'st 
begg'dst,  drugg'dst 
rag'dst,  wag'dst 
hold'st,  fold'st 
whelm'st,  film'st 
delv'st,  helv'st 
help'st,  scalp'st 


38 


PRACTICAL  ELOCUTION. 


IX. 


To  THE  Teapuer.— In  the  second  section  affix  the  long  and  Bhori  Towfll 
rounds  as  before. 

1.    Review  Table  of  Elementarj'  Sounds — 
With  natural  force, 
With  great  vigor, 
Voice  Sounds :  ■  With  soft  whisper, 
With  loud  whisper, 
[With  mixed  voice  and  breath. 

I  Soft, 
I  Loud. 


Breath  Sounds: 


Union  Sounds 


( Soft, 
I  Loud. 


2. 


/  >,  ^  „  f 

w-v-f-f-v-w  I  dr-bl-pl-dw-gr-kr  ]  dr-bl-pl-dw-gr-kr 


3.- 

- 

Bs<, 

melt'st 

vlst, 

driv'lst 

rmdst, 

harm 'dst 

]kst, 

milk'st 

zdsf, 

gaz'dst 

mdst, 

burn 'dst 

mdst, 

doom'dst 

zht, 

dazzl'st 

rvdst, 

cur  V 'dst 

mpst. 

thunip'st 

znst, 

reason 'st 

rptst, 

harp'dst 

mtst, 

prompt'st 

tfulst 

sheath 'dst 

vldst, 

driv'l'dst 

ndst, 

bend'st 

ngdsl. 

hang'dst 

zldst 

dazzl'dst 

ntst, 

■want'st 

plst, 

rippl'st 

zndst. 

reas'n'dst 

ngkst. 

think 'st 

khl, 

bufkl'st 

pidst, 

rippl'd.st 

rhst, 

curh'st 

knst, 

blaek'ii'st 

tldsf, 

settl'dst 

rdst, 

gird'st 

flst, 

trifl'st 

kldst. 

buckl'dst 

rjst, 

enlarg'st 

/list, 

deafnst 

kndst. 

black 'n'dsi 

rlst, 

hurl'st 

thnst, 

length'n'st 

fldst. 

trifl'dst 

rmst. 

harrn'st 

hldst, 

troubl'dst 

/ndst, 

deaf 'n 'dst 

mst, 

learn 'st 

didst. 

bridlMst 

Iptst, 

help 'dst 

rtst, 

hurt'st 

dndst, 

hard'n'dst 

rktst. 

lurk'dst 

rkst, 

mark'st 

gldM, 

struggl'dst 

pndst, 

open'dst 

rchst. 

search'st 

rbdst, 

curh'dst 

thndst. 

length'n'ds 

vdtt, 

lov'dst 

rldst, 

hurl'dst 

rchtst, 

search'dst 

AKTICULATION — SEAT  OP  THE  ACCENT.  89 

X. 

To  THE  TEACirER.— The  rules  of  this  lesson  are  too  general,  and  the  excep- 
tions too  numerous,  to  make  the  rules  of  much  practical  benefit,  other  than  to 
show  general  tendencies  of  the  language.  The  chief  value  of  this  lesson  will 
consist  in  the  frequent  practice  of  the  correct  pronunciation  of  these  and  other 
words  which  teachers  and  students  will  meet  with  in  the  course  of  their  read- 
ing, and  which  fall  under  the  several  rules  and  exceptions  here  given.  This 
practice  will  make  the  correct  pronunciation  of  the  words  familiar,  and  it  is  the 
•nly  truly  practical  method. 

SEAT  OF  THE  ACCENT. 

1.  A  syllable  is  a  word  or  part  of  a  word  uttered  with  a 
single  impulse  of  the  voice. 

2.  A  word  of  one  syllable  is  called  a  monosyllal)le ;  of  two, 
a  dissyllable  ;  of  three,  a  trisyllable ;  of  more  than  three,  a 
polysyllable. 

3.  The  last  syllable  of  a  word  is  called  the  ultimate  ;  the 
next  to  the  last  is  called  the  penult ;  the  third  from  the  last, 
the  antepenult;  the  fourth  from  the  last,  the  pre-antepenult. 

4.  Of  words  of  two  syllables,  nouns  and  adjectives  gener- 
ally have  the  accent  on  the  first  syllable,  and  verbs  on  the 
second  syllable.  Examples :  Nouns — abbot,  comet,  fossil, 
napkin,  album,  comma,  antic,  gallon,  anvil,  atom,  linnet, 
garret,  logic,  basket,  demon,  organ,  genus,  bobbin.  Adjec- 
tives— common,  naval,  lucid,  dental,  lurid,  candid,  dulcet, 
horrid,  carnal,  quiet,  rabid,  mental,  rancid.  Verbs — admit, 
affix,  occur,  impel,  forbid,  annex,  commit,  expel,  concur, 
debar,  excel,  emit,  dispel,  demur,  ferment,  purloin. 

So  general  is  this  law  that  the  exceptions  often  lead  us 
into  error.  Examples:  Nouns — morass,  recess,  research, 
resource,  romance,  address,  adept,  adult,  ally,  allies,  basalt, 
compeer,  contour,  finance,  vendue,  routine,  recourse.  Ad- 
jectives— canine,  condign,  robust,  verbose,  occult,  prolix. 
Verbs — hara.ss,  ransack,  gyrate,  sojourn,  preface,  purport, 
comment. 

Some  nouns  and  adjectives  are  distinguished  from  verbs  of 


90  PRACTICAL  ELOCUTION.; 

the  same  spelling  by  this  difTerence  of  accent;  as — accent, 
conduct,  contract,  insult,  torment,  concert,  convict,  escort, 
import,  export,  object,  record,  subject,  abstract,  conflict, 
l)rotest,  compound,  desert,  progress,  project,  retail,  contrast, 
contest,  confine,  quarantine, — absent,  frequent. 

5.  Words  of  more  than  two  syllables  generally  have  the 
primary  accent  on  the  antepenult.  Walker  calls  this  the 
favorite  accent  of  the  language.  Examples  —  disputant, 
hosi^ital,  industry,  domicile,  juvenile,  crystalline,  serpentine, 
coralline,  centrifugal,  interpolate,  misanthropy,  chalybeate, 
heliacal,  chimerical,  chirography,  anachronism,  simulta- 
neous, ammoniacal,  reciprocity,  demoniacal,  interlocutor, 
homoeopathy,  hypochondria,  idiosyncrasy,  dicotyledonous, 
trigonometrical,  impracticability,  monocotyledonous,  valetu- 
dinarian, incommensurability,  unintelligibility. 

Exceptions  to  this  law  often  lead  us  into  error,  as — manu- 
mit, magazine,  acclimate,  defalcate,  inundate,  exculpate, 
exponent,  condolence,  opponent,  hospitable,  prebendary, 
formidable,  cotyledon,  conservator,  explicable,  contumely, 
despicable,  nomenclature,  orthoepy,  orthoepist,  peremptory, 
exemplary,  obligatory,  indisputable,  indissolubly. 

6.  English  derivatives,  or  words  derived  from  other  words 
in  the  language,  generally  retain  the  accent  of  their  primi- 
tives, as — mischievous,  mountainous,  serviceable,  unhappi- 
ness,  admiralty,  fragmentary. 

Exceptions  to  this  law  frequently  lead  us  astray,  as— - 
chastisement,  comparable,  disputable,  lamentable,  impiously, 
irreparable. 

7.  Manj^  words  from  the  Latin  and  Greek,  introduced 
into  our  language  with  little  or  no  change  of  orthography, 
retain  the  classical  accent.  The  attempt  to  make  such 
words  conform  to  English  analogy  frequently  leads  ua  into 
error.  Examples — acumen,  bitumen,  horizon,  paragoge, 
abdomen,  lyceum,  museum,  sonorous,  decorum,  mausoleum. 

8.  In  many  words  of  very  common  usage,  this  analogy  of 
the  English  prevails  over  the  classical  accent,  as — auditor, 
orator,  minister,  senator,  plethora. 


ARTICULATION — PREFIXES.  91 

9.  Many  words  derived  without  change  of  orthography 
from  the  French,  are  accented  on  the  last  syllable.  Ex- 
amples— antique,  bastile,  bourgeois,  chateau,  corvette,  finesse, 
giraffe,  adieu,  artiste,  bouquet,  coquette,  debut,  canaille, 
canard,  blanc-mange,  carte-blanche,  depot,  debris,  eclat, 
encore,  ennui,  6\ite,  entree,  facade,  machine,  melee,  mirage, 
monsieur,  parquet,  parole,  parterre,  penchant,  physique, 
plateau,  regime,  soiree,  sortie,  surtout,  sang-froid,  savant, 
souvenir,  tableau,  tirade,  vignette,  vedette,  vendue,  amateur, 
bagatelle,  coterie,  connoisseur,  chevalier,  cuirassier,  debau- 
chee, debonair,  dishabille,  exposd,  mademoiselle,  millionaire, 
nonchalance,  protege,  reservoir,  repertoire,  recherchd,  sobri- 
quet, solitaire,  tete-a-tete,  vis-a-vis. 

10.  When  two  words  are  used  antithetically  which  differ 
only  or  chiefly  in  one  of  their  syllables,  the  primary  accent 
is  transferred  to  that  syllable ;  as,  He  must  increase  but  I 
must  (decrease.  Did  you  say  a  new  acZdition,  or  a  new 
alition?  Our  sins  of  omission  as  well  as  of  commission.  Did 
she  swspect  him  or  expect  him? 

In  counting  we  say  thir^teen,  four^teen,  lif  ^teen,  &c.,  but  in 
answer  to  a  question,  as,  "  How  many  dollars  did  you  pay  for 
your  coat,"  we  should  answer,  "  Fifteen'."  When  emphatic, 
the  accent  is  quite  evenly  divided;  as,  "They  ate  fourteen 
large  oysters  for  supper." 


XI. 

PREFIXES. 


To  THE  Teacher. — The  term  "Prefixes,"  at  the  head  of  this  lesson,  is  used 
in  its  broader  sense,  and  is  made  to  apply  to  the  beginning  of  a  word,  to  that 
part  which  is  "  fixed  before,"  whether  the  word  be  a  priiaitive  or  a  derivative. 

1.     The  letter  a,  as  a  prefix,  when  not  accented,  is  sounded 
like  Italian  ii,  slightly  obscured.    The  sound  of  lung  a  in  such 


92  PRACTICAL  ELOCUTION. 

position,  should  be  carefully   avoided.     Examples : — again, 
against,  abaft,  abash,  abate,  acute,  adopt,  alarm. 

At  the  end  of  a  word  or  of  a  syllable,  a,  when  unaccented, 
generally  takes  the  same  sound ;  as,  Cuba,  America,  algebra, 
sofa,  idea, — banana,  cabal,  caboose,  canal,  canary. 

2.  When  hi  and  tri  are  used  as  prefixes,  the  i  is  usually 
long.  Examples: — bicrenate,  biennial,  billorous,  biforate, 
bilingual,  biniana,  binary,  binervate,  binomial,  biographj', 
biology,  bipedal,  bisect,  bivalvous,  triad,  trialogue,  tribunal, 
tricennial,  triennial,  trifoliate,  trilemma,  trilobate,  trilobite, 
trimeran,  trimester,  trimetrical,  tripartient,  tripetJilous,  tri- 
plicity,  tripod,  trisect,  triumvir. 

The  following  exceptions  occur: — biforine,  bitumen,  bitu- 
minous, tribune,  trichina,  trilogy,  trimeter,  tripedal,  triphy- 
line,  trisplanchnic,  trisyllable,  trisyllabic. 

With  change  of  accent,  the  following  may  be  either  long 
or  short : — biparous,  bipartite,  tripartite,  triphyllous. 

Webster  says,  "  The  i  is  usually  long  in  the  initial  syllables 
i,  hi,  chi,  cli,  cri,  pri,  tri." 

3.  Other  words  whose  first  syllable  contains  or  ends  in  t 
or  y  are  frequently  mispronounced.  The  following  require 
short  / : — didactic,  digest,  digression,  dilapidate,  dimension, 
diminish,  diploma,  direct,  divan,  diverge,  divert,  divest, 
divulge,  divide,  fidelity,  finance,  financial,  financier,  miracu- 
lous, piano,  piazza,  pilaster,  tirade,  vicar,  visor,  liypocrisy, 
Italian,  tyrannize,  Tyrolese,  tyromancy. 

These  require  long  i  or  y : — chirography,  cliiropodist, 
divaricate,  diverse,  sinecure,  siren,  tiny,  viscount,  dioptrics, 
diurnal,  tyrannic,  tyrannicide,  typal. 

The  i  or  y  may  be  either  long  or  short  in — dilate,  dilemma, 
hilarity,  minute  [adjective),  simultaneous,  sliver,  virago,  viril, 
\'ituperate,  vivacious,  quinine,  bison,  hypothecate,  hypothe- 
nuse,  hypothesis,  typography. 

4.  The  letter  n  in  the  prefix  con  of  tiie  following  words, 
has  the  sound  of  n^' : — concave,  conclave,  concord,  concourse, 
conger,  congo,  congregate,  congregation,  congregational,  con- 
gress, congruence,  congruent,  congruous,  conquer,  conqueror^ 
aonquest, — concrete  {cong  or  con). 


ARTICULATION — PREFIXES. 


93 


But  in  the  following,  the  ii  has  its  simple  sound  :  congratu- 
late, congressional,  congruity. 

5.  The  letter  o  takes  the  sound  of  short  u  in  the  following 
words  and  their  derivatives : — Donib,  bombard,  bombast, 
bombazine,  bomb-shell,  come,  comely,  comfit,  comfiture, 
comfort,  comfrcy,  company,  compass,  conjure,  some,  some- 
body, somehow,  something,  sometimes,  somewhat,  some- 
where. 

6.  The  letter  x  generally  has  the  sound  of  ks,  but  in  the 
prefix  of  the  following  words  and  their  derivatives,  it  is  equiv- 
alent to  gz : — exacerbate,  exact,  exaggerate,  exalt,  examine, 
example,  exasperate,  executive,  executor,  exemplar,  exem- 
plary, exemplify,  exempt,  exert,  exhale,  exhaust,  exhibit, 
exhilarate,  exhort,  exist,  exonerate,  exorbitant,  exordium, 
exotic,  exuberant,  exude,  exult. 

The  sound  of  ^'S  is  retained  in  exhibition,  exhortation,  ex- 
cursion, exoteric. 

7.  Much  diversity  exists  among  orthoepists  respecting  the 
sound  of  s  in  the  prefix  dis.  Webster  gives  it  the  z  sound  in 
a  very  few  words ;  Worcester  and  Smart  in  a  larger  number. 
The  following  words,  with  their  derivatives,  comprise  quite  a 
full  list :— 


Webster. 

Worcester. 

dis-arm 

dL 

;-arni 

dis-able 

dis-integrate 

dis-mast 

-aster 

-aster 

-animate 

-interested 

-may 

-cem 

-cern 

-authorize 

-join 

-member 

-dain 

-dain 

-band 

-joint 

-miss 

-ease 

-ease 

-bark 

-junctive 

-mount 

-honest 

-honest 

-burse 

-like 

-order 

-honor 

'honor 

-gorge 

-lodge 

-organize 

-mal 

-mal 

-grace 

-loyal 

-relish 

-own 

-own 

-guise 

-mantle 

-robe 

-solve 

-solve 

-gust 

-mask 

-ruption 

The  s  is  frequently  incorrectly  sounded  like  z  in  designate, 
desist,  desolate,  desolation,  desultory,  desuetude,  desidera- 
tum, 


94  PRACTICAL  ELOCUTION. 

8.  Tlie  sound  of  tli  in  the  prclix  with,  of  tlie  following  words 
and  their  derivatives,  should  have  the  vocal  quality,  as  dis- 
tinguished from  the  aspirate: — withal,  withdraw,  withheld, 
wilhin,  without,  withstand;  also  in  the  words  with,  without, 
withers,  therewithal,  wherewithal.  But  in  the  suffix  with  of 
the  words  forthwith,  herewith,  therewith,  wherewith,  the 
weight  of  authority  is  in  favor  of  the  aspirate  sound. 


XII. 
TERMINATIONS. 


1.  Most  words  ending  in  en  drop  the  e  in  pronunciation  ; 
as,  fallen,  stolen,  swollen,  often,  heaven,  even,  given,  driven, 
harden,  soften,  hasten,  chasten,  listen. 

Exceptions : 

a.  After  the  liquids  /,  tn,  n,  r  ;  as,  pollen,  woolen,  flamen, 
hymen, omen,  women,  regimen,  sijecimen,  abdomen,  acumen, 
bitumen,  cerumen,  legumen,  catechumen,  linen,  siren, — 
except  fallen,  stolen,  swollen. 

h.  Aspen,  chicken,  hyphen,  kitchen,  lichen,  marten, 
— jerken,  latten,  mynchen,  paten,  patten,  platen,  rowen, 
ticken,  wicken,  yewen. 

c.  Divided  usage — Eden,  bounden,  heathen,  mitten, 
sudden,  sloven, 

2.  Most  words  ending  in  el  retain  the  e  in  pronunciation  ; 
as,  gravel,  level,  vessel,  chapel,  barrel,  camel,  cancel,  channel, 
kennel,  label,  marvel,  gos^jel,  libel,  hovel,  novel,  traivel, 
tunnel,  parcel,  bushel,  chisel,  model,  nickel,  rebel,  squirrel, 
tassel,  travel. 

Exceptions:  Chattel,  drivel,  easel,  grovel,  haze:,  mantel, 
mussel,  ravel,  shekel,  shovel,  shrivel,  snivel,  swivel,  teasel. 


ARTICULATION — TERMINATIONS.  95 

weasel, — barliel, betel,  drazel,  mispickel,  mangel-wurzel,  ousel, 
rivel,  scovel,  swingel,  toggel,  towsel. 

3.  a.  Adjectives  ending  in  ed  usually  retain  the  e;  as, 
aged,  crabbed,  dogged,  naked,  picked,  cragged,  crooked, 
jagged,  peaked,  ragged,  rugged,  wretched,  wicked;  but  if/ 
with  another  consonant  precede  e,ihQ  e  is  suppressed;  a?, 
brindled,  circled,  dimpled,  cradled,  crumpled. 

A  few  participles  used  as  adjectives  retain  the  e  like  other 
adjectives;  as,  beloved,  blessed,  learned,  winged,  cursed.  An 
exception  is  found  in  picked,  used  in  the  sense  of  selected;  as, 
'  a  hundred  ^/c/i'Cf^  men." 

h.  Verbs  and  partici^^les  ending  in  ed  usually  suppress 
the  e  ;  as,  beloved,  blessed,  learned,  cursed,  believed,  feared, 
possessed,  received. 

When  the  root  ends  in  d  or  /,  however,  the  e  is  necessarily 
retained ;  as,  acceded,  collected,  demanded,  exhausted. 

c.  Adverbs  formed  by  adding  ly,  and  nouns  formed  by  ad- 
ding ness,  to  words  ending  in  ed,  retain  the  e ;  as,  assuredly, 
confessedly,  designedly,  confusedly,  renewedly,  amazedness, 
composedness,  blessedness. 

d.  In  compounds,  as  full-aged,  sheath-winged,  the  e  is 
suppressed. 

e.  In  poetry  the  e  is  often  retained  when,  in  prose,  it 
would  be  suppressed  ;  as, 

In  notes,  witli  many  a  winding  bout 

Of  linked  sweetness  long  drawn  out. — Milton. 


J.  When  ed  follows  an  aspirate  or  breath  sound  other 
than  h  or  /,  the  c  is  suppressed,  and  the  d  takes  the  sound  of 
I;  as,  missed,  passed,  marked,  laughed,  sipped,  matched, 
lashed,  wished. 

4.    Words  ending  in  hie  are  frequently  mispronounced. 

a.  The  following  require  long  i\  Asinine,  brigandine,  brig- 
antine,  canine,  cannabine,  capitoline,  carbine,  celandine, 
cervine,  columbine,  corvine,  crystalline,  feline,  internecine, 
leonine,  muscadine,  metalline,  saline,  saturnine,  serpentine, 
sibylline,  vespertine. 


96  PRACTICAL  ELOCUTION. 

h.  These  require  short  i :  Adamantine,  benzine,  bromine, 
calcimine,  celestine,  chlorine,  clandestine,  coralline,  elephan- 
tine, engine,  ermine,  feminine,  genuine,  lieroine,  intestine, 
iodine,  jasmine,  masculine,  morphine,  nectarine,  nicotine, 
parafline,  pristine,  rapine,  strychnine,  turbine,  vulpine. 

c.  The  i  may  be  either  long  or  short  in  alkaline,  aquiline, 
calcine,  carmine,  eglantine,  infantine,  saccharine,  vaccine. 

d.  In  a  few  words  the  i  is  equivalent  to  long  e;  as,  guillo- 
tine, bombazine,  quarantine,  machine,  ravine,  sardine  [or 
sardine). 

e.  Chemical  terms  ending  in  in^  and  ide  generally  require 
short  i;  as,  benzoline,  caseine,  fibrine,  fluorine,  glycerine, 
lignine,  margarine,  oleine,  stearine,  bromide,  chloride, 
iodide,  oxide,  sulphide. 

/.  The  i  should  be  long  in  Apennine,  Argentine,  Palestine, 
Palatine  ;  short  in  Alexandrine,  Augustine,  Euxine,  Jacobine, 
Philippine,  Philistine,  Tripoline;  either  long  or  short  in 
Alpine,  Aldine,  B^'zantine,  Clementine,  Florentine,  Levan- 
tine ;  and  equivalent  to  long  e  in  Algerine,  Sabine. 

5.  Words  ending  in  on  preceded  by  c,  ck,  s,  t,  and  some 
other  letters,  often  suppress  the  o.  Examples  :— bacon,  bea- 
con, beckon,  blazon,  button,  cotton,  crimson,  damson,  dea- 
con,  glutton,  lesson,  mason,  mutton,  pardon,  parson,  person, 
poison,  prison,  reason,  reckon,  season,  treason. 

6.  In  the  ending  il  the  i  is  suppressed  in  evil,  weevil, 
devil,  and  retained  in  cavil,  civil,  fossil,  pencil. 

7.  The  i  is  retained  in  most  words  ending  in  in,  but  in 
basin,  cousin,  it  is  suppressed. 

8.  The  ending  ain  is  generally  pronounced  in  ;  as,  captain^ 
mountain,  fountain,  certain. 


ARTICULATION — UNACCENTED  VOWELS.  97 

XIII. 
UNACCENTED  VOWELS. 

No  one  need  hope  to  have  an  elegant  pronunciation 
witliout  attention  to  the  vowels  in  unaccented  syllables,  yet 
the  dictionaries  leave  those  vowels  unmarked  except  in  a 
few  first  syllables.  Unfortunately,  too  few  persons,  even 
<imong  students  of  Elocution,  study  with  care  the  "  Principles 
of  Pronunciation  "  contained  in  the  first  part  of  the  larger 
dictionai-ies. 

Webster  saj>6,  "When  an  unaccented  syllable  ends  in  a 
consonant,  its  vowel,  if  sin.s^le,  has  in  strict  theory,  its 
regular  short  or  shut  sound,  though  uttered  somewhat  more 
faintly,  or  with  a  less  proportionate  force,  than  in  an  accent- 
ed syllable,  as  in  as-sign',  coxV-duct,  con^-flid,  &c.  In  many 
words  of  this  class,  however,  the  vowel  is  apt  to  suffer  a 
change  of  its  distinctive  quality,  passing  over  into  some  sound 
of  easier  utterance."  The  sound  of  ;<.  in  urn,  often  called  the 
'  natural  vowel,'  and  that  of  short  u,  are  the  vowel  sounds  of 
easiest  utterance,  and  the  sounds  toward  which  many  of  the 
others  tend  when  rendered  obscure  ;  as,  dollar,  nectar,  altar, 
alter,  feather,  nadir,  tapir,  zephi/r,  actor,  mirror, — idea,  sofa, 
ballad,  ballast,  potato,  window,  orphan,  dismal,  compass, 
parable,  culpable,  enemy,  strategy,  charity,  possible,  cuticle, 
crucible,  parody,  analogy,  calculate,  masculine,  analj/sis.  To 
pronounce  these  with  a  broad  ur  or  nh  sound,  as  :  nectur, 
actnr,  ballttd,  pw/itattt/f.,  dismitl,  enu/imy,  charu/ity,  anal«/isis, 
&c.,  is  a  fault  which  all  chaste  speakers  carefully  avoid. 

The  following  general  principles  may  aid  the  student,  but 
they  are  too  broad  to  be  wholly  relied  upon  : 

1.  Long  a,  long  and  short  e,  tend  toward  short  i. 

2.  Short  a,  Italian  a,  intermediate  a,  long  and  short  o, 
tend  toward  short  u. 


98  PRACTICAL  EIX)CUnON. 

3.  Coalescenta  ar,  er,  or,  and  Italian  a  followed  by  r,  tend 
toward  ur. 

4.  Long  00  tends  toward  short  oo. 

Some  of  tliese  tendencies  are  very  slight,  and  others  are 
very  marked.  The  degree  of  each  it  is  impossil)le  to  specify  ; 
it  can  be  learned  only  by  hearing  correct  articulation.  To 
some  of  those  tendencies  there  seem  to  be  exceptions,  and 
this  serves  to  increase  the  difficulty.  The  following  exam- 
j)lcs  will  be  of  advantage  : 

A,  verging  toward  L — Monday,  Tuesday,  mountain,  certain, 
village,  cabbage,  orange.  But  in  'chocolate,'  'delicate,'  'intri- 
cate,' 'ultimate,'  Ave  have  exceptions,  the  a  verging  rather 
toward  short  e.  The  same  is  true  in  'miscellany,'  'moment- 
ary,' and  other  words  of  similar  termination.  In  verbs  end- 
ing in  ate  the  long  a  sound  is  usually  retained. 

e,  verging  toward  z. — Genesis,  remorse,  elegant,  society, 
enemy,  coffee,  college.  The  e  in  society,  enemy,  elegy,  &c., 
is  sometimes  corrupted  into  short  u. 

f,  verging  toward  i. — Wicked,  basket,  riches.  Here  the 
proper  bending  is  exceedingly  slight.  In  some  words,  as 
poem,  solemn,  emblem,  the  e  is  frequently  corrupted  into 
short  u. 

2,,  verging  toward  u. — Palpable,  culpable,  mental,  ballad 
cavalcade. 

a,  verging  toward  ft. — Cuba,  sofa,  comma,  idea. 

a,  verging  toward  u. — Douglass,  compass,  cutlass,  breakfast, 
distance,  gallant. 

6,  verging  toward  fi. — Polite,  pomade,  potato,  tobacco. 

6,  verging  toward  u. — Commerce,  companion,  compel, 
pivot,  fagot,  mammoth. 

Coalescent  ar,  verging  toward  ur. — Parental,  thereat,  thereon, 
preparation. 

Coalescent  er,  verging  toward  ur. — Exasperate,  assertion, 
conversation,  perdition. 

Coalescent  or,  verging  toward  «r. — Camphor,  languor,  actor, 
tenor,  victor,  captor,  reformation. 


ARTICULATION — WORDS  OFTEN   MISPRONOUNCEIX 


99 


Italian  a  followed  by  r,  verging  toward  ur. — Dolktr,  altar, 
Jaectar,  barbarous. 

oo,  verging  toward  06. — To-day,  to-morrow,  together,  ertidi- 
tion. 

Worcester  marks  vowels  in  unaccented  syllables  with  a 
period  or  dot  underneath  ;  Webster  leaves  them  unmarked. 

It  must  be  observed  that  Worcester  emjiloys  this  character 
to  indicate  a  slight  stress  of  voice,  and  not  to  note  any  par- 
ticular quality  of  sound,  as  will  be  seen  in  the  follow- 
ing examples,  in  which  the  italicized  vowels  are  thus 
marked  :  liar,  palace,  abbacy — brier,  fuel — elixir,  rmn — actor, 
confess — trul^/,  mart^/r. 


XIV. 


WORDS  OFTEN  MISPRONOUNCED. 


To  THE  Teacher.— Have  the  student  pronounce  these  words  with  a  strongly 
marked  accent.  After  the  faults  have  been  corrected,  frequent  repetition  will 
Boon  fix  the  correct  pronunciatiou.  The  lesson  will  also  afford  further  practica 
In  phonetic  spelling. 


1. 

adverse 

horizon 

archangel 

chastisement 

acclimatize 

adult 

acclimate  archbishop 

component 

adjectival 

allies 

armistice 

archetype 

complaisance 

admirable 

archives 

adversely 

aspirant 

misconstrue 

aerolite 

basalt 

albumen 

behemoth 

arquebuse 

climacteria 

brigand 

amateur 

bitumen 

expurgate 

aeronaut 

address 

antarctic 

canorous 

plethoric 

alabaster 

adept 

contrary 

chivalric 

precedence 

allegorist 

assets 

aroma 

caloric 

circuitous 

allopathy 

canine 

colporter 

communist 

contumely 

applicfttiv* 

100 


PRACTICAL  ELOCUTION. 


2. 

ally  composite 

occult  conlidenfc 

extant  condolence 

diverse  connoisseur 

contour  coquetry 

compeer  controvert 

frontier  corridor 

excise  illustrate 

construe  lethargic 

ornate  expletive 

3. 
overt 
penult 
portent 


col  portage 
objurgate 
sepulture 
surnamed  defalcate 
quiniiie      enervate 


pyramidal     athenaeum    compensativ© 
telegraphist  aureola         conservator 
excretory      camelopard  contumacy 
isothermal     capillary       hymeneal 
legislative      capitoline      suicidal 
perfuncttory   chalcedony  photographer 
periphrasis     coliseum      prolocutor 
provocative    combatable  irrefragable 
quadrupedal  comparable  apotheosis 
approbative    refutable    pharmaceutist 

promulgate  recitative  allopathist 

sacristan      recognizance     matutinal 
splenetic      reconnoissance  legislature 


sul)sidence   reparable 
sulphuric      receptivity 
decade       gondola       tartaric         secretory 
patois         hegira         vehement     secretary 
placard       inquiry        virago  sublunary 

pretence    integral       orchestra       officinal 
recess         overseer     mischievous  pedagogy 


mediaeval 

respirable 

reciprocity 

octogenary 

indicatory 

irrevocable 

irrefutable 


XV. 

WORDS  OFTEN  MISPRONOUNCED. 

To  THE  Teacher. — The  difficulties  of  this  lesson  hare  reference  to  syllabictu 
tion  ;  those  of  the  last  to  accent.  Have  the  student  first  tell  the  number  o/ 
syllables  in  a  word,  and  then  pronounce  the  word  firmly  with  that  number  of 
syllables.    This  lesson  may  also  be  used  for  phonetic  spelling. 


1. 

ratio 

glacial 

neuralgia 

omniscient 

penitentiary 

series 

hideous 

palliative 

peculiarity 

plenipotentiary 

nuncio 

hygiene 

parhelion 

plagiarism 

amelioration 

satiate 

inertia 

pecuniary 

sul)stantiate 

carbonaceoua 

■entient 

javelin 

port-folio 

superficies 

familiarity 

ARTICULATION — WORDS   OFTEN   MISPEONOUNCED. 


lOi 


spaniel  jovial  prescience  umbrageous  homoeopathio 

suavity  jujube  sociable  allegiance  ignominious 

tedious  junior  sociality  ambrosial  impartiality 

tiivial  ordeal  unctuous  ameliorate  inconvenience 

eouave  olio  aphelion  appreciate  surveillance 


alien 

folio 

banian 

bestial 

caisson 

cordial 

fealty 

finale 

genial 

genius 


mollient 

mcj^alo 

nausea 

nauseous 

nescience 

pannier 

peculiar 

premier 

rationale 

ambrosia 


beauteous 

bestiality 

biennial 

bivouac 

bounteous 

ffreviary 

courteous 

flageolet 

guardian 

imagery 


associate 

auxiliary 

casualty 

cerements 

congenial 

convenient 

convivial 

egregious 

emollient 

magnesia 


magnolia 

Christianity 

discourteous 

fiduciary 

herbaceous 

immediate 

ingenious 

ingratiate 

ingredient 

initiate 


XVI. 

1.  The  letter  b  following  m  in  the  same  syllable,  is  gen- 
erally silent,  as  in  lamb,  limb,  numb,  tomb,  &c.,  but  in 
rhomb  and  succumb,  it  ia  retained. 

2.  The  sound  of  sh  is  often  incorrectly  made  like  zh  in 
such  words  as  Asia,  Asiatic,  nausea,  nauseous,  Persia, 
Persian. 

3.  The  sound  of/  in  the  termination  tie  following  s  is  gen- 
erally suppressed  ;  as,  apostle,  epistle,  thistle,  whistle,  bustle, 
hustle,  castle,  jostle. 

4.  Care  should  be  taken  to  preserve  the  aspirate  or 
breath  sound  of  th  in  the  plurals  truths,  youths,  breaths.  In 
the  plurals  baths,  laths,  paths,  moths,  cloths,  oaths,  mouths, 
sheaths,  swaths,  wreaths,  the  th  is  vocal.  It  is  also  vocal  in 
booth  and  booths,  but  aspirate  in  withe  and  withes. 

In  the  adjective  forms,  as,  blithe,  lithe,  and  in  the  verb 
forms  bathe,  clothe,  mouth,  sheathe,  wreathe,  &c,,  the  th  i» 
vocal. 


102  PRACTICAL  ELOCUTION. 

!>.  The  letter  a  when  used  as  an  article  is  always  given  it« 
long  or  name  sound  when  emphatic.  When  unemphatic  it 
becomes  obscure  Italian  a,  even  verging  toward  short  u  when 
rendered  very  lightly.  > 

6.  The  article  the,  when  emphatic,  is  pronounced  with  e 
long.  When  unemphatic  before  a  vowel  tlie  e  veri::es  toward 
short  i.  Before  a  consonant  sound,  it  passes  through  all  the 
degrees  of  change  from  long  e  to  obscure  short  u,  according 
to  the  degree  of  emphasis. 

7.  Tlie  vowel  of  the  pronoun  my,  when  quite  unemphatic, 
may  take  the  sound  of  short  i.  In  forms  of  address,  so  fre- 
quently used  by  English  dramatists,  the  short  i  is  preferred; 
as,  "  My  lord,  the  queen  would  speak  with  you,  and  pres- 
ently." 

8.  The  sound  of  s  when  followed  by  that  of  long  u,  or  the 
pronoun  you,  is  often  incorrectly  changed  to  sh.  The  sound 
o(  z  followed  by  that  of  sh  is,  in  like  manner,  changed  to  zh. 
The  following  examples  may  serve  to  illustrate  these  two 
faults:  'God  bless  you,'  'We  shall  miss  you,'  'He  will  pass 
Utica,'  'As  sure  as  you  go,'  '  I  was  sure  he  would  come.' 

9.  Wliile  care  should  be  taken  not  to  drop  the  d  of  the 
conjunction  and,  yet  to  sound  it  fully,  in  every  instance, 
as  some  authors  would  have  us  do,  would  be  the  veriest 
pedantry.  In  uttering  the  word,  the  organs  pass  from  the 
n  position  into  that  of  fZ,  but  the  jiower  given  to  the  latter 
sound  depends  greatly  upon  the  first  sound  of  the  next 
word.  To  finish  the  d  perfectly  would  be  not  only  to  mar 
the  fluency  of  speech,  but  also  to  break  the  magnetic  chain 
of  thought. 

10.  With  all  the  irregularities  of  our  language,  it  is  not  to 
be  wondered  at  that  words  are  frequently  mispronounced. 
Many  of  the  forms  are  so  arbitrary,  and  the  caprices  of  the 
age  so  numerous,  that  few  persons  can  claim  to  be  above 
criticism  in  the  matter  of  pronunciation.  And  yet,  whatever 
apology  or  excuse  for  faults  we  may  discover  in  this,  we 
should  be  more  ready  to  apply  such  excuse  to  others'  pro- 
nunciation than  to  our  own. 


EECREATIOXS  I>J   ARTICULATIOlf.  103 

XVII. 
RECREATIONS  IN  ARTICULATION. 

To  THE  Teachke. — While  many  of  the  exercises  given  under  "  Recreations 
In  Articulation"  uiay  create  amusement  in  a  class,  a  higher  motive  than 
"Amusement"  has  proiiii)ted  their  insertion.  Practice  la  here  att'orded  la 
nearly  every  form  of  dilliciilt  articiilatiou. 


1.  Did  you  say  a  notion  or  an  ocean  ? 

2.  Bring  me  some  ice,  not  some  mice. 

3.  Thou  laid'st  down  and  slept'st. 

4.  A  big  black  bug  bit  a  big  black  bear. 

5.  It  will  pain  nobody,  if  the  sad  dangler  regain  neithej 
rope. 

6.  He  crossed  wastes  and  deserts,  and  wept  bitterly, 
f .     Life's  fitful  fever  over,  he  rests  well. 

8.  Would  that  all  difference  of  sects  were  at  an  end. 

9.  Make  clean  our  hearts. 

10.  The  old  cold  scold  sold  a  school  coal-scuttle. 

11.  His  beard  descending  swept  his  aged  breast. 

12.  Eight  great  gray  geese  grazing  gaily  into  Greece. 

13.  The   cat  ran  up  the  ladder  with  a  lump  of  raw  livei 
in  her  mouth. 

14.  Amos  Ames,  the  amiable  aeronaut,  aided  in  an  aerial 
enterprise  at  the  age  of  eighty-eight. 

15.  I  battled  with  the  waves,  and  stronger 
Grew,  aa  stronger  grew  the  gale. 


104  PRACTICAL  ELOCUTION. 

16.  Thun  l.ridlMst  thy  tonmio,  wroathMst  thy  lips  wi'h 
Bniilcs,  imprison'd.st  thy  wrath,  ainl  trucklMst  to  thine 
enemy's  power. 

17.  Thou  reason'dst  falsely,  hnrdeuMst  thine  heart- 
Bniother'(ls;t  the  light  of  thine  iinderstandin.i;,  hearken'dst  to 
the  words  of  lying  lips,  and  doom'dst  thyself  to  misery. 

18.  He  accepts  the  office,  and  attempts  ly  his  acts  to 
conceal  his  faults. 

10.  If  he  reflect,  he  will  take  prompt  means  to  secure 
their  cluhs  and  save  his  ribs. 

20.     "When  Ajax  strives  some  rock's  vast  weight  to  throw, 
The  line,  too,  labors,  and  the  words  move  slow; 
Not  so  when  swift  Camilla  scours  the  plain. 
Flies  o'er  the  unbending  corn,  and  skims  along  the 
main. 

11. 

1.  She  says  she  shall  sew  a  sheet. 

2.  Old  age  has  on  their  temples  shed  her  silver  frost. 

3.  Charles  Smith's  Thucydides. 

4.  He  sawed  si.x;  long,  slim,  sleek,  slender  saplings. 

5.  Tlie  i)eevish,  feeble  freeman  feebly  fought  for  freedom, 

6.  A  rural  ruler,  truly  rural. 

7.  Dun't  rnn  along  the  wrong  lane. 

8.  Oh,  the  torment  of  an  ever-meddling  memory  I 

9.  She  could  pain  nobody. 

10.  Five  wise  wives  weave  withered  withes. 

11.  A  snowy  sheet,  as  if  each  surge  upturned  a  sailor's 
shroud. 

12.  Summer  showers  and  soft  sunshine  shed  sw^eet  influ* 
ences  on  spreading  shrubs  and  shooting  seeds. 


•  RECREATIONS   IN   ARTICULATrOIf.  105 

13.  And  I  know  that  the  witness  which  he  witnesseth  ot 
me  is  true. 

14.  He  was  attacked  with  spasms,  and  died  miserably  by 
the  road -side. 

15.  Death  ravaged  for  months  throughout  the  whole 
length  and  breadth  of  the  land. 

16.  Whelply  Whewell  White  was  a  whimsical,  whining, 
whispering,  whittling  whistler. 

17.  Thirty-three  thousand  and  thirty-three  thoughtless 
youths  thronged  the  thoroughfare,  and  thought  that  they 
could  thwart  three  thousand  thieves  by  throwing  thimbles  at 
them. 

18.  Our  eagle  shall  rise  'mid  the  whirlwinds  of  war. 
And  dart  through  the  dun  cloud  of  battle,  his  eye. 

19.  When  loud  surges  lash  the  sounding  shore, 

The  hoarse,  rough  verse  should  like  the  torrent  roar. 

20.  Thou  that  dost  scare  the  world  with  tempests  set  on 

fire, 
The  heDvens  with  falling  thunderbolts,  or  fill 
Tlie  swift  (lark  whirlwind  that  uproots  the  woods, 
Where  is  the  mortal  that  forgets  not  at  the  sight 
Of  these  tremendous  tokens  of  thy  power, 
His  pride,  and  lays  his  strifes  and  follies  by? 

III. 

1.  Some  shun  sun-shine  ;  do  you  shun  sun-shine? 

2.  She  sells  sea-shells  ;   shall  he  sell  sea-shells? 

3.  All  night  it  lay  an  ice  drop  there. 

4.  His  crime  moved  me. 

5.  The  magistrates  ought  to  arrest  the  roguea  speedily, 

6.  Laid  in  the  cold,  cold  ground. 

7.  As  thou  found'st,  so  thou  keep'st  me. 


106  f  UACTICAL  ELOCUTIOK. 

8.  He  built  a  nice   house    near  the  lake,  and  shouted, 
"  Ice-cream  for  two  young  hidies." 

9.  Oh,  studied  deceit!  what  a  sad  angler  thou  art! 

10.  Such  pretty  pranks  Frank's  prawns  play  in  the  tanks. 

11.  Keniucl  Kirkham  Karnes  cruelly  kept  the  kiss  that 
his  cousin  Catharine  Kennedy  cried  for. 

12.  Thou  lio;hten'dst  his  cares,  strengthen'dst  his  nerves, 
and  lengthen 'dst  his  life. 

13.  Thou  lov'dst  nature's  wildest  haunts  ;  thou  wander'dst 
through  the  deepest  forests,  climb'dst  the  loftiest  mountains, 
explor'dst  the  deepest  caverns,  linger'dst  by  the  noisiest 
streams,  look'dst  upon  the  ocean,  and  listen'dst  to  its  roar. 

14.  Regardless  of  troubles  and  wrongs,  he  curbed  the  anger 
of  that  disturbed  rabble. 

15.  He  laughs,  and  quaffs  his  ale,  knowing  that  the  rafts 
and  skitfs  are  on  the  reefs  near  the  cliffs. 

10.  Round  the  rough  and  rugged  rocks  the  ragged  rascals 
rudely  ran, 

17.  Then  honor  shall  weave  of  the  laurel  a  crown, 
That  beauty  shall  bind  on  the  brow  of  the  brave. 

18.  Beneath  the  booth,  I  found  baths,  cloths,  laths,  niotha, 
^heatlus,  paths,  and  wreaths. 

39.    The  hidden  ocean  showed  itself  anew. 

And  barren  wastes  still  stole  upon  the  view. 

20.  Thrice  six  thick  thistle  sticks  thrust  straight  through 
three  throbbing  thruslies. 

21.  I  said  "literary,  literally,  literarily,"  not  "literally, 
literary,  literarily." 

22.  A  storm  ariseth  on  the  sea.  A  model  vessel  is  struggling 
amidst  the  war  of  elements,  quivering  and  shivering,  shrink- 
ing and  battling  like  a  tliinking  being.  The  merciless,  rack- 
ing whirlwinds,  like  IVightful  fiends,  how!  and  moan,  and 
«eud  sharp,  shrill  shrieks  through   the   creaking  cordage. 


RECREATIONS  IN   ARTICULATtOl?. 


snapping  the  sheets  and  masts.    The  sturdy  sailors  stand  to 
their  tasks,  and  weather  the  severest  storm  of  the  season. 


IV. 

1.  A  shot-silk  sash  shop. 

2.  A  sure  sign  of  sunshine. 

3.  Be  the  same  in  thine  own  act  and  valdr. 

4.  Goodness  centers  in  the  heart. 

5.  Cut  the  pulpy  pumpkin  and  jjut  it  in  a  pipkin. 

6.  I  said,  "  a  knap-sack  strap,"  not  "  a  knap-sack's  strap." 

7.  Henry   Hingham   has   hung  his  harp    on  the   hook 
where  he  hitherto  hung  his  hope. 

8.  Thou  mangl'dst  his  writings,  trifl'dst  with  his   affec- 
tions, and  hurl'dst  him  from  his  high  position. 

9.  Thou   kindl'dst  his  hopes,   but  robb'dst   him    of  his 
peace ;  thou  blacken'dst  his  character,  and  troubl'dst  his  life. 

10.  He  reads  the  acts  of  government,  and  exjjects  to  learn 
the  facts  in  the  case. 

11.  Directly  after  these  accidents,  numerous  attempts 
were  i«ade  to  emigrate. 

12.  Gibeon  Gordon  Grelglow,  the  great  Greek  gram- 
marian, graduated  at  Grilgrove  College. 

13.  Prithee,  blithe  youth,  do  not  mouth  your  words  when 
you  wreathe  your  face  with  smiles. 

14.  Ho  spoke  reasonably,  philosophically,  disinterestedly, 
and  yet  particularly,  of  tlie  unceremoniousness  of  their  com- 
municability,  and  peremptorily,  authoritatively,  unhesitat- 
ingly declared  it  to  be  wholly  inexplicable. 

15.  The  laurel-crowned  clown  crouched  cowering  into 
the  cupboard. 


108  PRAOTICAI.   KLOCUTION. 

16.  His  exclamation  was,  "  Chaste  stars  !  "  not  "  Chaao 
tars ! " 

17.  Masses  of  immense  magnitude  move  majestically 
through  the  vast  empire  of  the  solar  system. 

IS.  From  thy  throne  in  the  sky,  thou  louk'st  and  langli'st 
at  the  storm,  and  guid'st  the  bolts  of  Jove. 

10.  He  had  respectable  talents,  but  was  objectionable  to 
the  people  from  his  want  of  principle,  and  his  readiness  to 
truckle  to  men  in  power. 


1.  The  sun  shines  on  the  shop  signs. 

2.  Sheba  Sherman  Shelly  sharpened  his  shears  and 
sheared  his  sheep. 

3.  Benjamin  Bramble  Bliml>er,  a  blundering  banker,  bor- 
rowed the  baker's  birchen  broom  to  brush  the  blinding  cob- 
webs from  his  brain. 

4.  That  fellow  shot  a  minnow  on  a  willow,  in  the  narrow 
meadow,  near  the  yellow  house. 

5.  Did  j'ou  say  you  saw  the  spirit  sigh,  or  the  spirit's  eye, 
or  the  spirit's  sigh  ?  I  said  I  saw  the  spirit's  eye,  not  the  spirit 
sigh,  nor  the  spirit's  sigh. 

"•         12.  House,   and    the    hound,   and   the   horn,   that 
belonged  to  the 

11.  Farmer,  that  sowed  the  corn,  that  kept  the 

10.  Cock,  that  crowed  in  the  morn,  that  waked  the 

9.  Priest  all  shaven  and  shorn,  that  married  the 

8.  Man  all  t.attered  and  torn,  that  kissed  the 

7.  Maiden  all  forlorn,  that  milked  the 

6.  Cow  with  the  crumpled  horn,  that  tossed  the 

5.  Dog  that  worried  the 

4.  Cat  that  killed  the 

3.  Rat  that  ate  the 

2.  Malt  that  lay  in  the 

1.  House  that  Jack  built. 


RECREATIONS   IN   ARTICULATION.  lOV, 

7.  Theophilus  Tliistle,  the  succossful  thistle  sifter,  in  sift- 
ing a  sieve  full  of  unsifted  thistles,  thrust  three  thousand  this- 
tles through  the  thick  of  his  thumb.  Now  if  Theophilus  This- 
tle, the  successful  thistle  sifter,  in  sifting  a  sieve  full  of  unsifted 
thistles,  thrust  three  thousand  thistles  through  the  thick  of 
his  thimib,  see  that  tln)U,  in  sitting  a  sieve  full  of  unsifted 
thistles,  thrust  not  three  thousand  thistles  through  the  thick 
of  thy  thumb.    Success  to  the  successful  thistle  sifter. 

8.  A  day  or  two  ago,  during  a  lull  in  business,  two  little 
boot-blacks,  one  white  and  one  black,  were  standing  at  the 
corners  doing  nothing,  when  the  white  boot-black  agreed  to 
black  the  black  boot-black's  boots.  The  black  boot-black 
was  of  course  willing  to  have  his  boots  blacked  by  his  fellow 
boot-black,  and  the  boot-black  who  had  agreed  to  black  the 
black  boot-black's  boots  went  to  work. 

When  the  boot-black  had  blacked  one  of  the  black  boot- 
black's boots  till  it  shone  in  a  manner  that  would  make  any 
boot-black  proud,  this  boot-black  who  had  agreed  to  black 
the  black  boot-black's  boots  refused  to  black  the  other  boot 
of  the  black  boot-black  until  the  black  boot-black,  who  had 
consented  to  have  the  white  boot-black  black  his  boots, 
ehould  add  five  cents  to  the  amount  the  white  boot-black 
had  made  blacking  other  men's  boots.  This  the  boot-black 
whose  boot  had  been  blacked  refused  to  do,  saying  it  was 
good  enough  for  a  black  boot-black  to  have  one  boot  blacked, 
and  he  didn't  care  whether  the  boot  that  the  white  boot- 
black hadn't  blacked  was  blacked  or  not. 

This  made  the  boot-black  who  had  blacked  the  black  boot- 
black's boot  as  angry  as  a  boot-black  often  gets,  and  he 
vented  his  black  wrath  by  spitting  upon  the  blacked  boot 
of  the  black  boot-black.  This  roused  the  latent  passions  of 
the  black  bootblack,  and  he  proceeded  to  boot  the  white 
boot-black  with  the  boot  which  the  white  boot-black  had 
blacked.  A  fight  ensued,  in  which  the  white  boot-black  who 
had  refused  to  black  the  unblacked  boot  of  the  black  boot- 
black blacked  the  black  boot-black's  visionary  organ,  and 
in  which  the  black  boot-black  wore  all  the  blacking  off  his 
blacked  boot  in  booting  the  white  boot-black. 


VI. 

Shrewd  Simon  Short  sewed  shoes.  Seventeen  summers* 
storms  and  sunshine,  saw  Simon's  small,  shabby  shop  stand- 
ing   staunch,   saw    Simon's    self-same    sign    still  swinging 


110  PRACTICAL  ELOCUTION. 

silently  specifying :  "  Simon  Short,  Smithneld's  sole  surviv- 
ing shoemaker.  Shoes  sewed  and  soled  superfineh'." 
Simon's  spry  sedulous  spouse,  Sally  Short,  sewed  shirta, 
stitched  sheets,  and  stu fled  sofas.  Simon's  six  stout  sturdy 
sons— Seth,  Samuel,  Stephen,  Saul,  Shadrach  and  Silas,  sold 
sundries.  Soher  Seth  sold  sngar,  starch,  spicos  ;  simple  Sam 
sold  saddles,  stirrups,  screws;  sagacious  Stcpheii  sold  silks, 
satins,  shawls;  skeijtical  Saul  sold  silver  salvers,  silver 
spoons;  selfish  Shadrach  sold  shoe  stiings,  soaps,  saws, 
skates  ;  slack  Sila^  sold  Sally  Short's  stuffed  sofas. 

Some  seven  summers  since,  Simon's  second  son,  Samuel, 
saw  Sophia  Sophronia  Spriggs  somewhere.  Sweet,  sensihle, 
smart  Sophia  Sophronia  Spriggs !  Sam  soon  showed  strange 
symptoms.  Sam  seldom  stayed  at  the  store  selling  saddles,  but 
sighed  sorrowfully,  sought  Sophia  Sojjhronia's  society,  sang 
several  serenades  slily.  Simon  stormed,  scolded  severely, 
said  Sara  seemed  so  silly,  singing  such  shameful,  senseless 
songs. 

"Strange  Sam  should  slight  such  splendid  summer  sales," 
said  Simon.  "  Strutting  spendthrift !  shatter-brained  sim- 
pleton !  " 

"Softly,  softly,  sire"  said  Sally;  "Sam's  smitten — Sam's 
spied  a  sweetheart." 

"  Sentimental  schoolboy  !  "  snarled  Simon  ;  "  Smitten  !  Stop 
such  stuff"!  " 

Simon  sent  Sally's  sniiff-box  spinning,  seized  Sally's  scis- 
sors, smashed  Sallv's  spectacles,  and  scattered  several  spools. 
"Sneaking  scoundrel!  Sam's  shocking  silliness  shall  sur- 
cease!" Scowling  Simon  stopped  speaking,  starting  swiftly 
shopward.  Sally  sighed  sadly.  Summoning  Sara  she  spoke 
sweet  sympathy. 

"  Sam,"  said  she,  "  sire  seems  singularly  snappy  :  so,  son, 
stop  strolling,  stop  smoking  segars  and  S])ending  specie  supjer- 
fluously ;  stoj)  sprucing  so ;  stop  singing  serenades, — stop 
short :  sell  saddles,  son ;  sell  saddles  sensibly ;  see  Sophia 
Sophronia  Spriggs  soon ;  she's  sprightly,  she's  staple,  so 
solicit  and  secure  Sojjhia  speedil\',  Sam." 

"  So  soon  ?  so  soon  ?  "  said  Sam,  standing  stock  still. 
"  So  soon  !  surelj',"  said  Sally,  smiling,  "specially since  sire 
shows  such  spirit." 

So  Sam,  somewhat  scared,  sauntered  slowly,  shaking  stu- 
pendously.    Sam  soliloquizes : 

"  Sophia  Sophronia  Spriggs  Short — Sophia  Sophronia 
Short,  Samuel  Short's  spouse — sounds  splendid!  Suppose 
she  sh(>nld  say — .she  .sha'n't!  " 

Soon  Sanispied  Sophia  starching  shirta  and  singing  softly. 


RECREATI0N3   IN   ARTICULATION.  Ill 

Seeing  Sam  she  stopped  starching  and  saluted  Sam  smilingly. 
Sam  stammered  shockingly : 

"  Sp-sp-splendid  summer  season,  Sophia." 

"  Somewhat  sultry,"  suggested  Soi^hia. 

"  Sar-sartin,  Sophia,"  said  Sam.  (Silence  seventeen  sec- 
onds.) 

"  Selling  saddles  still,  Sam  ?  " 

"  Sarsar-sartin,"  said  Sam,  starting  suddenly.  "  Sen  son '.s 
somewhat  soporific,"  said  Sam,  stealtliily  staunching  stream- 
ing sweat,  shaking  sensibly. 

"Sartui,"  said  Sopiiia,  smiling  significantly.  "Sip  some 
sweet  sherbet,  Sam."     (Silence  sixty  seconds.) 

"  Sire  shot  sixty  sheldrakes,  Saturday,"  said  Sophia. 

"  Sixty  ?  sho !  "  said  Sara.  (Silence  seventy-seven  sec- 
onds.) 

"  See  sister  Susan's  sunflowers,"  said  Sophia,  sociably  scat- 
tering such  stiff  silence. 

Sophia's  sprightly  sauciness  stimulated  Sam  strangely  :  so 
Sam  suddenly  spoke  sentimentally  :  "  Sophia,  Susan's  sun- 
flowers seem  saying,  "Samuel  Short  and  Sophia  Sophronia 
Spriggs,  stroll  serenely  and  seek  some  sequestered  spot,  some 
sylvan  shade.  Some  sparkling  spring  shall  sing  soul-sooth- 
ing strains;  sweet  songsters  shall  silence  secret  sighing; 
super-angelic  sylphs  shall — '  " 

Sophia  snickered  :  so  Sam  stopped. 

"  Sophia,"  said  Sam,  solemnly. 

"  Sam,"  said  Sophia. 

"  Sophia,  stop  smiling.  Sam  Short's  sincere.  Sam's  seek- 
ing some  sweet  spouse,  Sophia.  Speak,  Sophia,  speak ! 
Such  suspense  speeds  sorrow." 

"  Seek  sire,  Sam,  seek  sire." 

So  Sam  sought  sire  Spriggs.     Sire  Sprigs  said,  "Sartin." 

Seven  short  sabbaths  later  saw  Sophia  Sophronia  Spriggs 
the  smiling  spouse  of  Simon  Short's  sou  Samuel. 


EXPRESSION. 


True  Expression  consists  in  the  most  natural  and  etfectire 
giving  out  of  sentiment  or  emotion.  It  may  be  by  form, 
color,  language,  movement,  or  sound. 

In  Elocution,  correct  Expression  relates  to  those  adapta- 
tions of  the  human  voice  necessary  to  convey  the  medning 
and  spirit  of  the  author.  It  involves  a  i)r()pcr  use  of  all  the 
phi/siral  organs,  but  only  becomes  effective  through  the  exer- 
cise of  the  intellectual  and  emotional  faculties.  Appropriate 
expression  constitutes  the  soul  power  of  spoken  language. 

The  word  signifies  giving  out,  and  therefore  presupposes 
something  within.  Hence  it  is  of  first  importance  to  the  Ex- 
pression of  a  thought  that  the  speaker  have  within  him  the 
thought  to  be  expressed. 

To  this  end  he  should  make  a  thorough  analysis  of  the 
language,  and  should  answer  for  himself  such  questions  as 
the  following:  What  is  the  prevailing  thought  in  the  pas- 
sage? What  are  the  subordinate  thoughts,  and  how  are 
they  related  to  the  prevailing  thought?  Is  any  part  of  the 
sentence  merely  incidental  to  the  main  sentence,  and  how 
near  or  distant  is  the  relation  ?  What  was  the  probable 
state  of  the  author's  mind  when  he  expressed  the  thought? 
What  were  the  circumstances  which  called  it  forth  ? 
How  should  you  feel,  and  how  would  you  have  expressed  the 
same  sentiment,  had  the  same  circumstances  moved  you? 

The  mind  will  thus  be  led  to  a  full  iind  iufit  comprehension  of 
the  sentiment,  and  a  sympathy  will  be  awakened.  A  compre- 
hension of  the  thought  v^'iW  render  it  intelligent  in  its  expres 
sion.  Sympathy  with  the  thought  will  give  spirit  to  the  ex- 
pression. Let  the  student  ever  keep  in  mind  tliat  no  skill  uf 
112 


EXPRESSION — MODULATION.  113 

art  can  substitute  ior  intelligence  and  spirit  in  oral  expression. 

It  is,  however,  yet  necessary  that  the  utterance  be  under 
such  control  that  it  may  be  made  to  harmonize  with  all 
the  inflnite  lights  and  shades  of  thought.  True  expression 
should  be  carefully  distinguished  from  mere  fervor  of  spirit 
and  emotional  violence.  It  is  infinitely  more  than  this;  it  is 
spirit  put  under  laiv.  It  is  poxoer  under  control.  Herein  con- 
sists the  art  of  adaptation.  The  three  great  essentials,  then, 
which  every  speaker  should  keep  before  him,  are  compre- 
hension, sympathy,  adaptation. 

The  changes  of  voice  necessary  to  expression  constitute 
the  modulations  of  speech. 


MODULATION. 

Modulation  consists  in  the  adaptation  of  speech  to  the 
sentiment  it  is  designed  to  convey.  The  various  changes  or 
modulations  are  quality,  pitch,  force,  time,  and  slides,  or  in- 
flections. 

QUAJilTY. 

Note. — Quality  concerns  the  kind  of  voice  and  its  gelation  to  the  kind  or 
quality  of  sentiment.  It  has  been  fully  trtated  as  an  clement  of  vocal  culture 
in  Its  proper  place  under  that  head,  thouijh  its  piaotical  application,  as  an 
element  of  expression,  belongs  to  Modulation.  For  diacussion  and  exercises,  st>^ 
page  59. 

PITCH. 

Pitch  relates  to  the  High  and  Low  of  the  voice. 

Note. — Although  the  dilferent  degrees  of  Pitch  are  determined  by  the  musical 
scale,  the  changes  are  usually  produced  by  slide,  while  iu  music  they  are  usually 
produced  by  steps. 

Pitch,  like  the  other  modulations,  must  be  found  in  the 
sentiment.  There  is  np  and  down  in  thought  and  feeling. 
Joy  and  victory  are  up.  Melancholy  and  awe  are  down.  To 
respond  to  these  qualities  of  sentiment,  the  sense  must  be 
quick  to  perceive,  and  the  voice  must  be  capable  of  prompt 
and  graceful  change,  either  by  slide  or  step. 


lU  PRACTICAL  KLOCUTION. 

The  different  degrees  of  Pitch  are  produced  hy  the  differ 
ent  degrees  of  tension  of  the  vocal  cords. 

XaturdI  or  unemotional  sentiment  will  leave  the  vocal  cords  in 
their  most  natural  condition,  and  they  will  produce  a  natural 
or  medium  tone. 

Exaltation  of  sjjirit  will  cause  a  tension  of  the  vocal  cords, 
and  they  will  pr'nlucc  a  corres[)ondingly  hi[/h  tone. 

Depression  of  spirit  will  cause  the  vocal  cords  to  relax,  and 
the  tone  will  be  low. 

There  are,  therefore,  in  Elocution,  three  natural  divisions 
of  Pitch, — Medium,  High,  and  Low.  From  these,  other  divi- 
sions may  be  made. 

Note  1. — Each  of  these  divisions  must  necessarily  cover  a  range  or  variety  of 
sentiment.  W^hen  the  student  is  satisfied  that  the  sentiment  belongs  to  the 
medium  range,  or  the  high  or  low  range,  he  is  likely  to  adapt  the  changes 
within  that  range  more  gracefully  and  less  mechanically  than  if  he  adapts  his 
Pitch  too  strictly  to  the  musical  scale.  By  the  latter  method  he  is  liable  to 
speak  by  the  musical  tones  rather  than  by  the  speaking  tones. 

Note  2. — The  student  should  most  carefully  guard  the  qtuiliiy  of  the  tone  Is 
the  practice  of  the  High  and  Low  extremes. 

L.\.NGUAGE  OF  Mediu.m  Pitch. — Unemotional  language,  such 
as  ordinary  conversation,  simple  narration,  and  plain 
description,  and  all  language  of  natural  full  force,  should  be 
expressed  within  the  range  of  Medium  Pitch. 

Language  of  High  Pitch. — Passages  of  calling,  command, 
gayety,  joy,  victory,  and  extreme  grief,  are  expresbed  within 
the  range  of  High  Pitch. 

Language  of  Low  Pitch. — Melancholy,  reverence,  awe, 
despair,  and  language  of  the  supernatural,  are  expressed 
within  the  range  of  Low  Pitch. 

EXAMPLES  FOR  PRACTICE. 

VARIETIES  OF   MEDIUM   PITCH. 

1.  The  city  and  republic  of  Carthage  were  destroyed  by 
the  termination  of  the  third  Punic  war,  about  one  hundred 
and  fifty  years  before  Christ. 


EXPRESSION— EXAMPLES  OF   HIGH   PITCH.  115 

2.  We  must  educato !  We  must  educate !  or  we  must 
perish  by  our  own  prosperity.  If  we  do  not,  sliort  from  the 
cradle  to  the  grave  will  be  our  race. — Lyman  Beecher. 

3.  Blessed  are  the  merciful :  for  they  shall  obtain  mercy. 
Blessed  are  the  pure  in  heart :  for  they  shall  see  God.  Blessed 
are  the  peacemakers :  for  they  shall  be  called  the  children  of 
God.— Bible. 

4.  Up  from  the  meadows  rich  with  corn, 
Clear  in  the  cool  So])tember  morn, 
The  clustered  spires  of  Frederick  stand 
Green-walled  by  the  hills  of  Maryland. 

— /.  G.  Whittier. 

5.  So  through  Ihe  night  rode  Paul  Eevere  ; 

And  so  thi-ough  the  night  went  his  cry  of  alarm 

To  every  Middlesex  village  and  farm — 

A  cry  of  defiance  and  not  of  fear. 

A  voice  in  the  darkness,  a  knock  at  the  door, 

And  a  word  that  shall  echo  f(jrevermore ! 

For,  borne  on  the  night  wind  of  the  Past, 

Through  all  our  history  to  the  last. 

In  the  hour  of  darkness,  and  peril,  and  need. 

The  people  will  waken  and  listen  to  hear 

The  hurrying  hoofbeats  of  that  steed. 

And  the  midnight  message  of  Paul  Revere. 

—  H.   W.  Longfellow. 

For  selections  containing  additional  examples  of  Medium 
Pitch,  see  Elocutionist's  Annual,  No.  4,  pages  19  and  137 ; 
Ko.  5,  pages  135  and  13S. 

VARIETIES   OP   HIGH   PITCH. 

X,  Half  a  league,  half  a  league, 

Half  a  league  onward, 
All  in  the  valley  of  death 
Rode  the  six  hundred. 

"  Forward,  the  Light  Brigade  I 
Charge  for  the  guns !  "  he  said  : 
Into  the  valley  of  Death 
Bode  the  six  hundred. 

— Tennyson, 


116  PRACnCAL   ELOCUTION. 

2.     I  come  !  I  come  ! — ye  have  called  inc  long  : 

I  come  o'er  the  mountains  with  li,i;ht  and  soni^l 
Ye  may  trace  my  step  o'er  the  wakeninf^  earth, 
By  the  winds  which  tell  of  the  violet's  hirtii, 
By  the  primrose  stars  in  the  shadowy  grass, 
By  the  green  leaves  opening  as  1  pass. 

— Mrs.  Hemans. 

S.     "  Young  men,  ahoy  !  " 
"What  is  it?" 

"  Beware  !  beware !  The  rapids  are  below  yon  !  " 
"  See  how   fast  you  pass  that  point !     Up  with   the 
helm!      Now  turn!      Pull   hard!      Q'.iick !    quick!    quick! 
pull  for  your  lives  !  ])ull  till  the  l)lood  starts  from  your  nos- 
trils, and  the  veins  stand  like  whip-cords  on  your  brow  !  " 

— John  B.  Gough. 

4.  Go  ring  the  bells  and  fire  the  gims. 

And  fling  the  starry  banners  out ; 
Shout  "  Freedom !  "  till  your  lisi:)ing  ones 
Give  back  their  cradle  shout. 


5.  Make  a  joyful  noise  unto  the  Lord,  all  the  earth  :  make 
a  loud  noise,  and  rejoice,  and  sing  praise.  Sing  unto  the  Lord 
with  the  harp;  with  the  harp  and  the  voice  of  a  psalm. 
With  trumpets  and  soimd  of  cornet  make  a  joyful  noise  be- 
fore the  Lord,  the  King.  Let  the  sea  roar,  and  the  full- 
ness thereof;  the  w^orld,  and  they  that  dwell  therein. 

Let  the  floods  clap  their  hands:  let  the  hills  be  joyful 
together  before  the  Lord  ;  for  he  cometh  to  judge  the 
earth  :  with  righteousness  shall  he  judge  the  world,  and  the 
people  with  equity. — Bible. 

6.  They  strike  !  hurrah  !  the  fort  has  surrendered ! 
Shout !  shout !  my  warrior  boy, 

And  wave  your  cap,  and  clap  your  hands  for  joy. 
Cheer  answer  cheer,  and  bear  the  cheer  about. 
Hurrah  !  hurrah  !  for  the  fiery  fort  is  ours. 
"  Victorj"!  victory  !  victory  !  " 
Is  the  shout. 
Shout  for  the  fiery  fort  is  ours,  and  the  field 
And  the  day  are  ours  ! 

For  selections  containing  additional  examples  of   High 


EXPRESSION — EXAMPLES  OF   LOW    PITCH.  117 

Pitch,  see  Elocutionist's  Annual,  No.  1,  page  148 ;  No.  2,  page 
123;  No.  3,  page  147. 

VARIETIES  OP   LOW   PITCH. 


1.  'Tis  midnight's  hoh^  hour, — and  silence  now 

Is  brooding  like  a  gentle  spirit  o'er 
The  still  and  pulseless  world.     Hark  !  on  the  winds 
The  bell's  deep  tones  are  swelling — 'tis  the  knell 
Of  the  departed  year. 

— Geo.  D.  Prentice. 

2,  So  live,  that  when  thy  summons  comes  to  join 
The  innumerable  caravan  that  moves 

To  that  mysterious  realm,  where  each  shall  take 
His  cliamber  in  the  silent  halls  of  death. 
Thou  go  not,  like  the  quarry-slave  at  night, 
Scourged  to  his  dungeon,  but  sustained  and  soothed 
By  an  unfaltering  trust,  approach  tliy  grave 
Like  one  who  wraps  the  drapery  of  his  couch 
About  him,  and  lies  down  to  pleasant  dreams. 

—  William  Cullen  Bryant, 

8.  Your  sorrows,  O  people,  are  his  peace  !  Your  bells  and 
bands,  and  mutfled  drums  sound  triumph  in  his  ear.  Wail 
and  weep  here  !     Pass  on  !  — Beecher. 

4.  My  father's  spirit  in  arms  !  all  is  not  well  ; 

I  doubt  some  foul  play  :  would  the  night  were  come  ! 
Till  then  sit  still,  my  soul :  Foul  deeds  will  rise, 
Though  all  the  earth  o'erwhelms  them,  to  men's  eyes. 

— Shakspeare. 

5.  In  thoughts  from  the  visions  of  the  night,  when  deep 
sleep  falleth  on  men,  fear  came  upon  me,  and  trembling, 
which  made  all  my  bones  to  shake.  Then  a  spirit  passed 
before  my  face  ;  the  hair  of  my  flesh  stood  up  :  it  stood  still, 
but  I  could  not  discern  the  form  thereof:  an  image  was  before 
mine  eyes;  tiiere  was  silence,  and  I  heard  a  voice,  sayin<j;, 
Shall  mortal  man  be  more  just  than  God?  Shall  a  man  be 
more  pure  tlian  his  maker  ? — Bible. 

For  selections    containing    additional  examples  of  Low 


118  PKArTir.Mi   ELOCUTION. 

Pitch,  pee  Elocutionist's  Annual,  No.  2,  page  40;  No.  3,  pages 
9  and  126. 

FORCE. 

Force  relates  to  the  Loud  and  Soft  of  the  voice.  ^ 

The  Force  of  speech  must  be  regulated  by  the  intensity  oi 
the  emotion  which  the  sentiment  inspires.  We  think  and 
feel  with  different  degrees  of  intensity.  We  should  speak 
with  corresponding  degrees  of  Force. 

The  changes  of  Force  are  produced  by  the  different  degrees 
of  power  with  which  the  breath  is  applied  upon  the  vocal 
.cords. 

The  student  shr)uld  not  mistake  mere  noise  or  physical  ex- 
ertion for  Force.  True  Force  includes  the  idea  of  moral 
power,  and  is  often  more  manifest  in  a  certain  stateliness  or 
majesty  of  tone  than  in  great  exhibition  of  voice  and  man- 
ner. It  is  the  result  of  a  uniform  intensity  of  the  whole 
being,  and  of  such  a  repose  as  will  reflect  reserve  power, 
which  is,  after  all,  the  truest  Force. 

The  student  is  especially  cautioned  against  the  substitution 
of  Pitch  for  Force.  This  is  probably  the  most  common  error 
known  to  public  speakers.  The  moral  force  of  a  passage  or  a 
discourse  is  often  entirely  neutralized  by  elevating  the 
Pitch.  Changes  of  Force  should  be  made  without  change  of 
Pitch  unless  the  peculiar  character  of  the  thought  requires 
both. 

Cultivation  in  Force  follows  the  general  principle  laid 
down  by  all  true  elocutionary  training,  that  it  begins  with  pur* 
oynversoiion.  The  inost  natural  Force  is  that  which  the  culti- 
vated voice  takes  most  readily  iti  conversational  utterance.  In 
its  relation  to  loud  and  soft  it  always  ai:)proaches  a  medium  be- 
tween the  two  extremes,  and  is  therefore  most  appropriately 
called  Medium  Force.  From  this  the  student  may  readily 
pass  to  the  extremes  of  Fallund  Subdued. 

Language  op  Medium  Force. — Unemotional  language,  or 
language  of  ordinary  conversation,  simple  narration,  and 


T5XPRESS10N — EXAMPLES  OP  ]^^EDIU^£  FORCE.  119 

plain  description,  is  expressed  within  tlie  different  degrees  oi 
Medium  Force. 

Language  of  Full  Force. — Passages  of  defiance  and 
anger,  bold,  declamatory  utterances,  shouting,  calling  and 
rejoicing,  require  Full  Force. 
jl  Language  of  Subdued  Force. — Sentiments  of  tenderness, 
quiet,  pathos,  melancholy,  reverence  and  awe,  should  be 
uttered  with  Subdued  Force. 


EXAMPLES  FOR  PRACTICE. 


varieties  of  medium  force.  # 

1.  I  grieve  for  life's  bright  promise,  just  shown  and  then 

withdrawn  ; 
But  still  the  sun  shines  round  me  ,  the  evening  bird 

sings  on, 
And  I  again  am  soothed,  and,  beside  the  ancient  gate, 
In  this  soft  evening  sunlight,  I  calmly  stand  and  wait. 

2.  Miss  Kindly  is  aunt  to  everybody,  and  has  been  so 
long  that  none  remember  to  the  contrary.  The  little  chil- 
dren love  her;  she  helped  their  grandmothers  to  bridal  orna- 
ments three-score  years  ago. — Parker. 

3.  And  there  shall  be  no  night  there ;  and  they  need 
no  candle,  neither  light  of  the  sun  ;  f  )r  the  Lord  God  giveth 
them  light :  and  they  shall  reign  for  ever  and  ever. — Bible. 

4.  If  to  do  were  as  easy  as  to  know  what  were  good  to  do, 
chapels  had  been  churches,  and  poor  men's  cottages,  princes' 
pahxces.  It  is  a  good  divine  that  follows  his  own  instructions. 
I  can  easier  teach  twenty  what  were  good  to  be  done,  than 
be  one  of  the  twenty  to  follow  mine  own  teaching.  The 
brain  may  devise  laws  for  the  blood;  but  a  hot  temjDer  leapa 
over  a  cold  decree. — Shakspeare. 

5.  O  Young  Lochinvar  is  come  out  of  the  West  ! 
Through  all  the  wide  border  hia  steed  was  the  best ; 


130  PRACTICAL  ELOCUTION. 

And  save  liis  jjockI  broiulsworil  lie  weapons  had  none. 
He  rotle  all  unarnietl  and  ho  rode  all  alone. 
So  faithful  in  love,  and  so  dauntless  in  war. 
There  never  was  knight  like  the  young  Lochinvaj 

—Sr^tt. 

For  eeleotions  containing  additional  examples  of  Medium 
Force,  see  Elocutionist's  Annual,  No.  2,  page  152  ;  No.  3,  pag« 

VARIETIES  OF   FULL  FORCE. 


1.  Were  I  an  American,  as  I  am  an  Englishman,  while  a 
»inglc  foreign  troop  remained  in  my  country,  I  would  never 
lay  down  my  arras.     Never!  never!  never! — ,Pitt, 

2.  Then  the  earth  shook  and  trembled  ;  the  foundations  also 
of  tlie  hills  moved  and  were  shaken,  because  he  was  wroth. 
There  went  up  a  smoke  oat  of  his  nostrils,  and  fire  out  of 
his  mouth  devoured:  coals  were  kindled  by  it.  He  bowed 
the  heavens  also,  and  came  down  ;  and  darkness  was  under 
his  feet. — Bible. 


8.         Then  soon  he  rose  ;  the  prayer  was  strong ; 
The  Psalm  was  warrior  David's  song  ; 
The  text,  a  i'ew  short  words  of  might— 
"  The  Lord  of  UosIh  shall  arm  the  right  !  " 
He  spoke  of  wrongs  too  long  endured, 
Of  sacred  rights  to  be  secured  ; 

Then  from  his  patriot  tongue  of  flame 
Tbe  startling  words  of  freedom  came. 
Tbe  stirring  sentences  he  spake 
Compelled  t.ie  lieart  to  glow  or  quake, 
And,  rising  on  tlie  theme's  broad  wing. 

And  grasping  in  his  nervous  hand 

The  imaginary  battle-brand. 
In  face  of  death  he  dared  to  fling 
Defiance  to  a  tyrant  king. — T.  B.  Read. 

i.  Our  fathers  raised  their  flag  against  a  power  to  which, 
Tor  purposes  of  foreign  conquest  and  subjugation,  Rome,  in 
\A.Q  height  of  her  glory,  is  not  to  be  compared — a  power  which 


EXPRESSION— EXAMPLES   OF  SUBDUED   FORCE.  121 

has- dotted  the  surface  of  the  whole  globe  with  her  posses- 
eions  and  military  posts  ;  whose  morning  drumbeat,  follow- 
ing the  sun  in  its  course  and  keeping  pace  with  the  hours, 
circles  the  earth  with  one  continuous  and  unbroken  strain  of 
Uie  martial  airs  of  England. — Daniel  Webster. 


5.     Cromwell,  I  charge  thee,  fling  away  ambition  ; 
By  that  sin  fell  the  angels;  how  can  man  then, 
The  image  of  his  Maker,  hope  to  win  by  't? 
Love  thyself  last :  cherish  those  hearts  that  hate  thee : 
Corruption  wins  not  more  than  honesty. 
•         *****        Bg  just,  and  fear  not 
Let  all  the  ends  thou  aim'st  at,  be  thy  country's, 
Thy  God's,  and  Truth's ;  then  if  thou  fall'st,  O  Crom- 
well, 
Thou  fall'st  a  blessed  martyr. — Shakspeare. 

For  selections  containing  additional  examples  of  Full 
Force,  see  Elocutionist's  Annual,  No.  l,page  94;  No.  3,  pages 
84  and  124 ;  No.  4,  page  45. 


VARIETIES  OP  SUBDUED  FORCE. 

O  a*veet  and  strange  it  seems  to  me,  that  ere  this  day 

is  done, 
Tlie  voice  that  now  is  speaking,  may  be  beyond  tlie 

sun — 
Forever  and  forever, — all  in  a  blessed  home — 
A.nd  there   to  wait  a   little  while,  till  you  and  Effie 

come- 
To  lie   within   the  light  of   God,  as  I  lie  upon  your 

breast — 
And  the  wicked  cease  from  troubling,  and  the  weary 

are  at  rest. — Tennyson. 

And,  friends,  dear  friends,  when  it  shall  be 
Tliat  this  low  breath  is  gone  from  me, 
And  round  my  bier  ye  come  to  weep, 
Let  one,  most  loving  of  you  all, 
Sa.y,  "  Not  a  tear  must  o'er  her  fall; 
He  giveth  His  beloved,  sleep." 

— Mrs.  Brownitiff. 


122  PRACTICAL   ELOCUTION. 

8  Like  as  a  fallier  pitioth  liis  children,  so  the  Lora 
pitieth  tlieni  tli.il  lear  liim.  For  ho  knowetl;  our  fniiie;  he 
renieinhorelii  that  we  are  thist.  Ad  lor  man,  1 1 its  days  are  aa 
grass;  as  a  llowcr  of  the  lieltl,  so  he  Hotirishelh  :  For  the 
Wind  passeth  over  it,  and  it  is  gone;  and  the  place  thereui 
*liall  know  it  no  uiore- — Bible. 

4.  But  while  she^  wa;^  still  very  young, — 0  very,  very 
young, — the  sister  drooped,  and  came  to  be  so  weak  that  slie 
C(juld  no  longer  stand  in  the  window  at  night ;  and  then  the 
child  looked  sadly  out  by  himself,  and  when  he  saw  the  star, 
turned  round  and  said  to  the  patient,  pale  face  on  the  bed,  "  I 
Bee  the  star!"  and  then  a  smile  would  come  upon  the  face, 
and  a  little,  weak  voice  used  to  say,  "  God  bless  my  brother 
and  the  star !  " — Dickens. 

5.  "  0  father  abbot 

An  old  man  broken  with  the  storms  of  state, 

Is  comp  to  lay  his  weary  bones  among  ye ; 

Give  him  a  little  earth  for  charity  !  " 

So  went  to  bed  :  where  eagerly  his  sickness 

Pursued  him  still :  and,  three  nights  after  this. 

About  the  hour  of  eight  (which  he  himself 

Foretold  should  be  his  last),  full  oi  repentance, 

Continual  meditations,  tears,  and  sorrows, 

He  gave  his  honors  to  the  world  again, 

His  blessed  part  to  heaven,  and  slept  in  peace. 

— Shakspeare. 

For  selections  containing  additional  examples  of  Subdued 
Force,  3ee  Elocutionist's  Annual,  No.  5,  page  112;  No.  6, 
pages  104  and  lUo. 

TIME. 

Time  has  reference  to  the  Fast  and  Slow  of  speech. 

Sentiment  has  in  it  the  quality  of  movement,  and  requiret 
z,  corresponding  quality  in  the  expression. 

Changes  of  time  are  as  indispensable  to  variety,  as  changes 
nf  Pitch  and  Force.  Many  speakers  give  proprr  attention  to 
the  latter,  slide  skillfully,  and  use  appropriate  qualitv,  who  are 
yet  monoUinnaH  owing  *.c  uniformity  of  Time.    They  move 


EXPRESSION— EXAMPLES  OF  MEDIUM   RATE.  123 

through  mehincholy  and  gayety,  the  dirge  and  the  battle,  at 
the  same  degree  of  speed  :  or  their  individual  words  have 
merely  the  Time  necessary  to  their  pronunciation,  or  the 
pauses  are  measured,  rather  than  adapted,  or  it  may  be  that 
in  all  of  these  conditions,  the  Time  is  set  and  formal,  so 
that  the  expression  falls  upon  the  ear  with  painful  monotony. 

Appropriate  changes  of  Time  also  reflect  self-control,  show- 
ing that  slow  or  rapid  utterance  is  not  the  result  of  tem- 
perament, or  of  an  excited  condition  of  the  speaker,  but  that 
they  are  his  servants,  to  be  used  according  to  his  need. 

Time  la  divided  into  Rate,  Quantity,  Pause. 

RATE. 

Time,  as  applied  to  a  collection  of  words,  is  called  Rate. 

The  natural  divisions  of  Rate,  are  Medium,  Fast,  and  Slow, 
from  which  other  divisions  may  be  made. 

Language  op  Medium  Rate. — The  various  styles  of  unim- 
passioned  discourse  should  be  expressed  within  the  varietiett 
of  Medium  Rate. 

Language  of  Rapid  Rate. — Sentiments  of  gayety  and  joy, 
and  language  indicating  hasty  action  or  rapid  change  of 
Bcene,  should  be  expressed  in  Rajoid  Rate. 

Language  op  Slow  Rate. — Descriptions  of  slow  move- 
ment and  sentiments  of  solemnity,  reverence,  awe,  melan- 
eholy,  and  despair,  should  be  expressed  in  Slow  Rate. 


EXAMPLES  FOR  PRACTICE. 

VARIETIES  OF  MEDIUM   KATE. 

1.  Maud  INIuller,  on  a  summer's  day, 
Raked  the  meadow,  sweet  with  hay. 

— Whittier. 

2.  Though  T  speak  with  the  tongues  of  men  and  of  angels 
and  have  not  chaiity,  I  am  become  as  sounding  brass,  or  a 
'.inkling  cymbal.— £i6/(3. 


124  PRACTICAL  ':i.OCUT10H. 

3.  She  thanked  me,  and  bade  me  if  I  had  a  friend  that 
loved  her.  I  slioiild  Inil  leach  him  how  to  tell  my  story,  and 
tliat  would  woo  her. — Shakspeare. 

4.  To  make  men  patriots,  to  make  men  Christians,  to 
make  men  the  sons  of  God,  let  all  the  doors  of  heaven  be 
opened,  and  let  God  drop  down  charmed  gifts — winged  im- 
aginations, all-perceiving  reason,  and  all-judging  reason. 
Whatever  there  is  that  can  make  men  wiser  and  better — let 
it  descend  upon  the  head  of  him  who  has  consecrated  him- 
self to  the  work  of  mankind,  and  who  has  made  him.self  an 
orator  for  man's  sake  and  for  God's  sake. — H.  W.  Beecher. 

For  selections  containing  additional  examples  of  Medium 
Rate,  see  Elocutionist's  Annual,  No.  1,  page  101 ;  No.  2,  page 
117  ;  No.  3,  page  42 ;  No.  G,  page  171. 

VARIETIES  OF   RAPID   R.ATE. 


1.  A  hurry  of  hoofs  in  a  village  street, 

A  shape  in  the  moonlight,  a  bulk  in  the  dark, 
And  l)eneath,  from  the  pebbles,  in  passing,  a  spark 
Struck  out  l>y  a  steed  flying  fearless  and  fleet; 
That  was  all ! — Longfellow. 

2.  A  cannon  which  breaks  \Ui  moorings  becomes  abruptly 
■ome  indescribable,  supernatural  beast.  It  is  a  machine 
which  transforms  itself  into  a  monster.  This  mass  runs  on 
its  wheels,  like  billiard-balls,  inclines  with  the  rolling, 
jjlunges  with  the  pitching,  goes,  comes,  stops,  seems  to  medi- 
tate, resumes  its  course,  shoots  from  one  end  of  the  ship  to 
the  other  like  an  arrow,  whirls,  steals  away,  evades,  prances, 
strikes,  breaks,  kills,  exterminates. —  Victor  Hugo. 

3.  Never,  nevfir :     Come  away,  away ; 
We'll  burn  his  body  in  the  holy  place, 

And  with  the  brands  fire  the  traitor's  houses  1 
Take  up  the  body. — Shakspeare. 

4.  I  chatter,  chatter,  as  I  flow 

To  join  the  brimming  river, 
For  men  may  come,  and  men  may  go, 
But  I  go  on  forever. — Tennyson. 


EXPRESSION— EXAMPLES   OP   SLOW   RATE.  125 

5.   So  light  to  the  croup  the  fair  lady  he  swung, 
So  light  to  the  saddle  before  her  he  sprung  ; 
"  She  is  won!  we  are  gone,  over  bank,  bush,  and  scaur  ; 
They'll  have  fleet  steeds  that  follow !  "   quoth   young 
Lochin  var. — Scott. 

For  selections  containing  additional  examples  of  Rapid 
Rate,  see  Elocutionist's  Annual,  No.  2,  page  17;  No.  3,  page 
\5;  No.  6,  page  17. 

VARIETIES  OF  SLOW  RATE. 

1.  And  the  raven,  never  flitting,  still  is  sitting,  still  is  sitting 
On  the  pallid  bust  of  Pallas,  just  above  my  chamber-door ; 
And  his  eyes  have  all  the  seeming  of  a  demon's  that  is 

dreaming. 
And  the  lamp-iight  o'er  him  streaming  throws  his  shadow 

on  the  floor; 
And  my  soul  from  out  that  shadow  that  lies  floating  on 

the  floor 
Shall  be  lifted — nevermore  ! — Poe. 

2.  O  Lord,  our  Lord,  how  excellent  is  Thy  name  in  all  the 
earth,  who  hast  set  Thy  glory  above  the  heavens.  When  I 
consider  Thy  heavens,  the  work  of  Thy  fingers ;  the  moon 
and  the  stars,  which  Thou  hast  ordained;  what  is  man  that 
Thou  art  mindful  of  him  ?  and  the  son  of  man,  that  Thou 
visitesthim?  For  Thou  hast  made  him  a  little  lower  than 
the  angels,  and  hast  crowned  him  with  glory  and  honoi-. 
Thou  madest  him  to  have  dominion  over  the  works  of  Thy 
hands:  Thou  hast  put  all  things  under  his  feet.  Oh  Lord, 
our  Lord,  how  excellent  is  Thy   name  in  all  the  earth. 

—Bible. 

3.    Hear  the  tolling  of  the  bells — 
Iron  bells  ! 
What  a  world  of  solemn  thought  their  monody  compels  I 
In  the  silence  of  the  night 
How  we  shiver  with  aflVight 
At  the  melancholy  menace  of  their  tone. 
For  every  sound  that  floats 
From  the  rust  within  their  throats 
Is  a  groau. — Poe. 


126  PRACTICAL  ELOCUTION. 

4.  The  hours  pass  slowly  by — nine,  ten,  eleven--how 
solemnly  the  last  stroke  of  the  clock  floats  out  upon  the  still 
air.  It  dies  s^ently  *way,  swells  out  again  in  tlie  distance, 
and  seems  to  be  caught  up  by  spirit-voii'es  of  departed  years, 
until  the  air  is  filled  with  melancholy  strains.  It  is  the  re- 
quiem of  the  dying  year. 

Tenderly,  mournfully  it  lingers  upon  the  ear  and  sinks 
into  the  heart ;  slowly  and  softly  it  dies  away.  Tlie  clock 
strikes  twelve;  the  grave  opens  and  closes,  and  the  old  year 
is  buried. — Brooks. 

5.  To-morrow,  and  to-morrow,  and  to-morrow 
Creeps  in  this  petty  pace  from  day  to  day, 
To  the  last  syllable  of  recorded  time. 

— Shakspeare. 

For  selections  coLtaining  additional  examples  of  Slow 
Rate,  see  Elocutionist's  Annual,  No.  1,  page  105  ;  No.  2,  page 
150 ;  No.  3,  page  153. 


COMBINATION  EXERCISE, 


PITCH. 

FORCE. 

RATE; 

High. 

Full. 

Fast. 

Medium. 

Medium. 

Medium, 

Low. 

Subdued. 

Slow. 

To  THE  Teacher. — ^The  above  formula  should  be  placed  on  the  blackboard. 
Announce  a  sentence, — for  example:  "O  ye  hard  hearts!  ye  cruel  men  of 
Rome!"  and  beginning  with  Mtdium  Pilcli,  practice  the  student  on  the 
Medium  and  the  extremes  until  he  can  make  the  chnnges  with  j)romptnes3  and 
accuracy.  Follow  this  with  a  similar  exercise  in  Force  and  in  Rate.  When  he 
has  mastered  these  changes  in  their  individual  application,  the  exercise  may  b« 
made  more  difficult  by  combining  them  according  to  the  following  : 

Illustration. — Ask  the  class  to  utter  the  sentence,  "O  ye  hard  hearts,  ye 
cruel  men  of  Rome  !  "  in  Medium  Pitch,  Medium  Force,  and  Medium  Time. 
After  proper  explanation,  point  from  one  to  another  of  the  different  degrees  of 
the  different  modulations.  You  may  point  to  Full,  uuder  Force.  The  student 
or  class  should  give  the  sentence  as  before  in  I'itch  and  Rate,  but  change  the 
Forc«  to  Full.      You  may  then  point  to  Slow,  under  Rate.    Thu  «lasa  should 


EXPRESSION — EXAMPLES   OF  MEDIUM   QUANTITY.  127 

retain  the  Full  Force  as  at  the  preceding  exercise,  alsoModium  Pitch,  as  it  hai 
not  yet  been  changed,  but  change  the  Rate  to  Slow.  These  changes  may  be 
continued  indefinitely,  and  cannot  fail  to  give  flexibility  to  the  voice,  and  the 
capability  of  a  ready  adaptation  in  response  to  the  changes  of  sentiment. 

QUANTITY. 

Quantity  is  time  upon  words. 

Words  stand  for  ideas,  and  according  to  the  nature  of  the 
idea  to  which  the  word  refers,  it  is  prolonged  or  shortened. 
The  word  "  long  "  should  receive  more  length  of  time  than 
"short,"  though  the  latter  contains  more  letters.  "  Cut"  and 
"  saw  "  should  be  pronounced  according  to  the  several  ac- 
tions they  represent.  Reversed  in  time,  they  will  fail  to 
represent  their  respective  meanings. 

Appropriate  Quantity  contributes  greatly  to  the  relative 
importance  of  the  words  in  a  sentence. 

Quantity  may  be  IMedium,  Long,  or  Short. 

Words  possessing  no  marked  significance  are  uttered  in 
Medium  Quantity. 

Words  of  dignity  and  strength  require  Long  Quantity. 

Words  of  impatience,  stubbornness,  and  of  suddtfu  action, 
require  Short  Quantity. 


EXAMPLES  FOR  PRACTICE. 

VARIETIES   OF   MEDIUM   QUANTITY. 

1.  Consider  the  lilies  how  they  grow  ;  they  toil  not,  they 
spin  not,  and  yet  I  say  unto  you  that  Solomon  in  all  his 
glory  was  not  arrayed  like  one  of  these. — Bible, 

2.  What's  in  a  name  ?  That  which  we  call  a  rose,  by  any 
other  name  would  smell  as  sweet. — Shakspeare. 

3  I  own  a  mule.  It  is  the  first  mule  I  ever  had,  and  will 
be  the  last  one.     My  mind  is  my  mule. — Orowl. 


128  PRACTICAL  ELOCUTION. 

VARIETIES   OF   LONG   QUANTITY. 

1,  O  Death  !  where  is  thy  sting? 

O  Grave  !  where  is  thy  victory  ? 


—Bible. 


2.  O  the  long  and  dreary  Winter! 

O  the  cold  and  cruel  Winter! 
Ever  thicker,  thicker,  thicker 
Froze  the  ice  on  lake  and  river; 
Ever  deeper,  deeper,  deeper 
Fell  the  snow  o'er  all  the  landscape, 
Fell  the  covering  snow,  and  drifted 
Through  the  forest,  round  the  village. 

— Longfellow. 

8.  To  die — to  sleep, — 

Ko  morel — and,  hy  a  sleep,  to  say  we  end 

The  heartache,  and  the  thousand  natural  shocks 

That  flesh  is  heir  to, — 'tis  a  consummation 

Devoutly  to  be  wished.    To  die, — to  sleep  ; — 

To  sleep  I — perchance  to  dream — aye,  there's  the  rub  I 

For,  in  that  sleep  of  death,  what  dreams  may  come, 

When  we  have  shuffled  off  this  mortal  coil, 

Must  give  us  pause  \—Shakspeare. 

4.  0  lonelv  tomb  in  Moab's  land  ! 

O  dark  Beth-peor's  hill ! 
Speak  to  these  curious  hearts  of  ours. 

And  teach  them  to  be  still. 
God  hath  his  mysteries  of  grace, — 

Ways  that  we  cannot  tell ; 
He  hides  them  deep,  like  the  secret  sleep 
Of  him  he  loved  so  well. 

— C.  F.  Alexander. 

VAKIETIES   OF  SHORT  QUANTITY. 

1.  I  can  as  well  be  hanged,  as  tell  the  manner  of  it:  it 
was  mere  foolery.  I  did  not  mark  it.  I  saw  Mark  Antony 
vffer  him  a  crown  ; — yet  t'was  not  a  crown  neither,  t'was  one 
of  these  coronets,— and,  as  I  told  you,  he  put  it  by  once;  but 
for  all  that,  to  my  tliinking,  he  would  fain  have  had  it.  Then 
he  offered  it  to  him  again  ;  then  he  jiut  it  by  again  ;  but,  to 
my  thinking,  he  wais  very  loath  to  lay  his  fingers  off  it.    And 


EXPRESSION — EXAMPLES  OF  RHETORICAL  PAUSE.  129 

then  he  offered  it  a  third  time ;  he  put  it  the  third  time  by  : 
and  still  as  he  refused  it,  the  rabblement  hooted,  and  clapped 
their  chapped  hands,  and  threw  up  their  sweaty  night-caps, 
and  uttered  such  a  deal  of  stinking  breath,  because  Caesar  re- 
fused the  crown,  that  it  had  almost  choked  Caesar ;  for  he 
swooned,  and  fell  down  at  it. — Shakspeare. 

2.  "  Quit  the  bust  above  my  door  ! 

Take  thy  beak  from  out  my  heart,  and  take  thy  form 
from  off  my  door  !  "  — Poe. 

3.  And  he  answering,  said  to  his  father,  Lo,  these  many 
years  do  [  serve  thee,  neither  transgressed  I  at  any  time  thy 
commandment;  and  yet  thou  never  gavest  me  a  kid,  that  I 
might  make  merry  with  my  friends. — Bible. 


PAUSE. 

A  pause  is  an  interval  of  time  between  words. 

There  are  two  divisions  of  Pause,  Grammatical  and  Rhe- 
torical. 

The  Grammatical  Pause  is  designed  mainly  as  a  guide  to  the 
author's  meaning,  and  the  author's  meaning  should  indicate 
the  character  and  length  of  the  Pause. 

The  Rhetorical  Pause  marks  the  special  separation  of 
words  as  reflected  by  the  general  thought  of  the  author,  but 
which  is  not  marked  by  the  Grammatical  Pause.  The  Rhe- 
torical Pause  gives  a  peculiar  force  to  the  words  which  precede 
or  follow  it.  It  also  indicates  present  action  of  the  mind, 
giving  to  speech  the  effect  of  freshness  and  originality.  The 
Rhetorical  Pause  is  greatly  varied  in  its  application  ;  and  in 
length,  passes  through  every  conceivable  period  of  time, 
from  the  almost  spiritual  separation  of  words,  to  that  of  a 
short  Grammatical  Pause. 

EXAMPLES  FOR  PRACTICE. 

EXAMPLES   OF   RHETORICAL  PAUSE. 

1.     In  slumbers  of  midnight  the  sailor  boy  lay, 

His  hammock  swung  loose  at  the  sport  of  the  wind, 


130 


rRACTICAL  KI/)CUTIOH. 


But  watfh-worn  and  weary,  liis  cares  flew  away, 
And  viriions  of  happiiiens  danced  o'er  his  mind. 

— Dimond. 

2.  It  is  more  blessed  to  give  than  to  receive. — Bible. 

3.  Add  to  your  failh  virtue;  and  to  virtue  knowledge; 
and  to  knowledge  temperance  ;  and  to  temperance  patience 

—Bible. 

4.  With  deep  affection 

And  recollection 
I  often  think  of 

Those  Shandon  bells, 
Whose  sounds  so  wild  would, 
In  the  days  of  childhood, 
FHng  round  my  cradle 

Their  magic  spells. — Francis  Mahony. 

The  Rhetorical  Pause  frequently  unites  with  the  Gram- 
matical, taking  from,  or  adding  to,  the  time  of  the  Grammati. 
cal  Pause. 

EXAMPLES. 

1.  "  It  must  be  so — Plato,  thou  reasoncst  well  ! — 

Else  whence  this  pleasing  hope,  this  fond  desire, 

This  longing  after  immortality  ? 

Or  whence  this  secret  dread,  and  inward  horror, 

Of  falling  into  naught?     Why  shrinks  the  soul 

Back  on  herself,  and  startles  at  destruction  ? 

'Tis  the  divinity  that  stirs  within  us  ; 

'Tis  heaven  itself,  that  points  out  an  hereafter, 

And  intimates  eternity  to  man." — Addison. 

2.  Pause  a  moment  I  heard  a  footstep.  Listen  now.  I 
heard  it  again  ;  l)ut  it  is  going  from  us.  It  sounds  fainter, — i 
Htill  fainter.     It  is  gone. 

R.  John,  be  quick.  Get  some  water.  Throw  the  powder 
overboard.  "  It  can  not  be  reached."  Jump  into  the  boat, 
then.  Shove  off.  There  goes  the  powder.  Thank  heaven. 
We  are  safe. 


EXPRESSION — EXAMPLES  OF  SLIDES. 


The  Slide  is  a  change  of  pitch  upon  a  word. 

Slides  are  upward  and  downward. 

The  Upward  and  Downward  Slides  may  be  united.  They 
then  are  known  as  the  Wave  or  Circunifiex. 

The  lights  and  shades  of  thought  which  cannot  be  ex- 
pressed by  the  changes  of  Quality,  Pitch,  Force,  or  Time,  are 
gathered  up  by  the  slide,  and  the  expression  is  rendered  com- 
plete. 

The  slides  of  the  voice  contribute,  most  of  all  the  modu- 
lations, to  the  accuracy  of  speech.  The  mind  of  the  hearer  is 
turned  from  the  general  thought  and  conducted  by  the 
Slide  to  the  individual  ideas  which  may  enter  into  a  sen- 
tence. 

The  Slide  also  gives  emphasis  to  the  peculiar  sentiment  or 
feeling  which  calls  it  forth.  In  view  of  its  effect,  therefore, 
upon  the  accuracy  and  the  emphasis  of  speech,  the  Slide  may  be 
regarded  as  the  crowning  power  of  expression. 

It  is  of  constantly  changing  degree,  according  to  the  ishar- 
acter  or  intensity  of  sentiment.  Its  simplest  form  is  the 
change  of  a  single  tone,  and  its  most  intense,  that  of  the 
ociave  or  eight  tones. 

Slides  are  divided  into  conversational  andi  emphatic. 

The  Conversational  Slide  is  used  in  all  the  simplest  forms 
of  speech.  The  changes  of  upward  and  downward  are  mado 
chiefly  in  reference  to  variety  in  the  expression,  one  or  the 
other  prevailing  according  as  the  sentiment  tends  to  the 
negative  or  positive  form  which  will  be  shown  to  govern  the 
Emphatic  Slide. 

The  Emphatic  Slide  is  more  significant,  and  the  principles 
governing  its  use  are  more  closely  defined.  With  reference 
to  the  Emphatic  Slide,  all  language  may  be  divided  into  posi- 
tive and  negative. 

Positive  language  comprises  what  is  completed,  definitely 
stated  or  enjoined ;  and  as  that  which  is  completed  ia  laid 
down,  positive  language  takes  the  Downward  Slide. 


182  PRACTICAL  ELOCUTION. 

Negative)  language  comprises  that  which  is  stibordinat©, 
incomplete  and  indefinite,  and  as  that  wliich  is  unfinished  is 
continued,  or  hdd  up,  negative  language  takea  the  Sustained 
Voice  or  Kising  Slide. 

Note. — While  the  above  is  given  as  the  most  common  governing  principle  of 
Ihe  Slide,  yei  it  should  be  observed  that  the  Slide  is  greatly  subject  to  the 
demands  of  variety  and  melody,  and  to  the  connections  of  the  thought  in  which 
it  is  found  ;  and  is,  therefore,  less  arbitrarily  governed  than  the  other  modula- 
tions. 

The  Wave  or  Circumflex  is  a  Double  Slide.  Its  simplest 
use  is  in  reflective  pathos  and  solemnity.  It  is  prominent  in 
wit  and  in  language  of  double  meaning,  sarcasm,  irony, 
insinuation,  and  in  surprise  and  astonishment. 

The  Rising  Circumflex  terminates  on  the  upward  slide. 
The  Falling  Circumflex  terminates  on  the  downward  slide. 

Tlie  Circumflex  is  governed  according  to  the  general  prin- 
ciple governing  the  Emphatic  Slide. 


EXERCISES  IN  SLIDES. 

The  follomng  exercises,  practiced  in  the  order  of  the  Dia« 
grams,  and  according  to  the  directions,  will  lead  the  student 
quickly  to  a  skilful  management  of  the  slides. 

EXEECISE  1. 


Explanatory  Note. — Practice  the  Conversational  Slide 
upward  on  the  long  vowel  sounds  from  the  Medium  Pitch. 
The  degree  of  Slide  Ib  not  arbitrary.    Decide  upon  a  degree 


EXPRESSION— EXAMPLES  OF  SLIDES,. 

within  the  range  of  ordinary  conversation,  and  give  to  each 
sound  the  same  Slide. 


EXERCISE  2. 

^    s   -\.  ^    N 

Explanatory  Note.— Practice   the  Conversational    Slide 
downward,  as  explained  under  Diagram  1. 

EXERCISE  8. 


Explanatory  Note. — Alternate  the  Conversational  Slid© 
upward  and  downward 


EXERCISE  4. 


Explanatory  Note. — Slide  upward  and  downward   from 
the  extremes  of  the  Pitch  used  in  the  Conversational  Slide. 


PRACnCAI.  ELOCUTION. 
EXERaSE  5. 


Explanatory  Note. — Practice  the  Emphatic  Slide  upward 
from  Medium  to  a  degree  of  Pitch  beyond  that  of  ordinary 
conversation.  The  degree  is  not  arbitrary,  but  should  be 
uniform  through  the  five  sounds. 

EXERCISE  6. 


a  je  /I         ^  M 

Explanatory  Note. — Practice  the  Emphatic  Slide  down- 
ward, according  to  directions  for  Diagram  5. 

EXERCISE  7. 

a  /  I 


Explanatory  Note. — Alternate  the  Emphatic  Slide  upward 
and  do^-nward. 


EXPRESSION — EXAMPLES  OF  SLID^. 


136 


EXERCISE  8. 


Explanatory  Note. — Slide  upward   and  downward  from 
the  extremes  of  Pitch  used  in  the  Emphatic  Slide. 

Suggestion  to  Teachers. — This  Diagram,  produced  before  the  Class  in  the 
order  of  stops  here  indicated,  wi(h  practice  upon  th'?  several  steps,  will  give  an 
interesting  variety  of  exercise  in  Slide,  with  better  results  than  the  practice  of 
any  other  one  txercise  for  the  same  length  of  time. 


EXAMPLES  OF  CONVERSATIONAL  SLIDES. 


Note  to  Teacher  or  Student. — Practice  abundantly  in  simple  questions, 
and  common-place  conversational  language.  Observe  the  natural  turning  of  the 
voice  upward  and  downward,  and  apply  similar  changes  in  such  exerciees  aa 
the  following: 

1.  My  ancestors  came  from  old  Sparta,  and  settled  among 
the  vine  clad  rocks  and  citron  groves  of  Cyrasella.  My 
early  life  ran  qniet  as  the  brooks  by  which  I  sported;  and 
when,  at  noon,  I  gathered  the  sheep  beneath  the  sliade,  and 
played  upon  the  shepherd's  Ante,  there  was  a  friend,  the  son 
of  a  neighoor,  to  join  me  in  the  pastime.  We  led  onr  flocks 
to  the  same  pasture  and  partook  together  our  rustic  meal. 

— E.  Kdloyij. 

2.  Juliet. — "Tis  but  thy  name  that  is  my  enemy. 
What's  in  a  name  ?    That  which  we  call  a  rose. 
By  any  other  name  would  smell  as  sweet. 

— Shakspeare. 


186  PRACTICAL  ELOCOnOK. 

8.  Alt  is  never  art  till  it  is  more  than  art :  the  finite 
exists  only  as  to  the  body  of  the  infinite.  The  man  of 
genius  must  first  know  the  infinite,  unless  he  wishes  to 
become,  not  a  poet,  but  a  maker  of  idols. — Kingsley. 

4.     Touch. — How  old  are  you,  friend? 
117//. — Five  and  twenty,  sir. 
Touch. — A  ripe  age.    Is  thy  name  William  ? 
Tr///^Williani,  sir. 

Touch. — A  fair  name.     Wast  born  i'  the  forest  here  ? 
Will. — Ay,  sir,  I  thank  God. 
Tcnich. — Thank  God  !  a  good  answer.     Art  rich  ? 
Will. — Faith,  sir,  so  so. 

Touch. — So  so  is  good,  i^ery  good, — very  excellent  good  : 
and  yet  it  is  not;  it  is  but  so  so. — Shakspeare. 

•5.     Once  came  to  our  fields  a  pair  of  birds  that  had  never 
*>uilt  a  nest  nor  seen  a  winter.     Oh,  how  beautiful  was  every- 
thing!    The  fields  were  full  of  flowers,  and  the  grass  was 
growing  tall,  and  the  bees  were   humming   everywhere. 
— Henry  Ward  Beecher. 

6.  Mountains  are,  to  the  rest  of  the  body  of  the  earth, 
what  violent  muscular  action  is  to  the  body  of  man.  The 
muscles  and  tendons  of  its  anatomy  are,  in  the  mountain, 
brought  out  with  fierce  and  convulsive  energy,  full  of 
expression,  passion,  and  strength ;  the  plains  and  lower  hills 
are  the  repose  and  the  effortless  motion  of  the  frame,  when 
its  muscles  lie  dormant  and  c  'ucealed  beneath  the  lines  of 
its  beauty,  yet  ruling  those  lines  in  their  every  undulation. 
This,  then,  is  the  first  grand  principle  of  the  truth  of  the 
earth.  The  spirit  of  the  liills  is  action  ;  that  of  tlie  lowlands, 
repf)ee  ;  and  between  these  there  is  to  be  found  every  variety 
of  motion  and  of  rest;  from  the  inactive  plain,  sleeping  like 
the  firmament,  with  cities  for  stars,  to  the  fiery  peaks, 
wliich,  with  heaving  bosoms  and  exulting  limbs,  with  the 
clfjiids  drifting  like  hair  from  their  bright  foreheads,  lift  up 
their  Titan   hands  to  heaven,  saying,  "I  live  forever!" 

— Ruskin. 

7.  'Tis  midnight's  holy  hour, — and  silence  now 
Is  brooding  like  a  gentle  spirit  o'er 

The  still  and  pulseless  world.     Hark!  on  the  winds 
The  bell's  deep  tones  are  swelling — 'tis  the  knell 
Of  the  departed  year.     No  luneral  train 
b  sweeping  past ;  yet,  on  the  stream  and  wood. 


EXPRESSION — EXAMPLES  OF  SLIDES.  137 

With  melancholy  light,  the  moonbeams  rest 
Like  a  pale,  spotless  shroud.    — Geo.  D.  Prentice. 

8.  Except  the  Lord  build  the  house,  they  labor  in  vain 
that  build  it :  except  the  Lord  keep  the  city,  the  watchman 
waketh  but  in  vain.  It  is  vain  for  you  to  rise  up  early,  to 
sit  up  late,  to  eat  the  bread  of  sorrow  :  for  so  he  giveth  hia 
beloved  sleep. — Bible. 

9.  We  had  come  to  the  middle  of  our  sermon,  when  a 
large  fly,  taking  advantage  of  the  open  mouth  of  the  speaker, 
darted  into  our  throat.  Tlie  crisis  was  upon  us.  Shall  we 
cough  and  eject  this  impertinent  intruder,  or  let  him  silently 
have  his  way? — Talmadge. 

10.  God  forbid  that  we  should  outlive  the  love  of  our 
children.  Rather  let  us  die  while  their  hearts  are  a  part  of 
our  own,  that  our  grave  may  be  watered  with  their  tears  and 
our  love  linked  with  their  hoi:)es  of  heaven. 

11.  Would  you  make  men  trustworthy  ?  Trust  them. 
Would  you  make  them  true?  Believe  them.  We  win  by 
tenderness,  we  conquer  by  forgiveness. — Robertson. 


EXAMPLES  OF  EMPHATIC  SLIDE. 


1.  To  gild  refined  gold,  to  paint  the  lily, 
To  throw  a  perfume  on  the  violet, 

To  smooth  the  ice,  or  add  another  hue 

Unto  the  rainbow,  or  with  taper  light. 

To  seek  the  beauteous  eye  of  heaven  to  garnish, 

la  wasteful  and  ridiculous  excess.    —Shakspeare. 

2.  To  them  his  heart,  his  love,  his  griefs  were  given, 
Bat  all  his  serious  thoughts  had  rest  in  heaven. 
As  some  tall  cliff  that  lifts  its  awful  form. 

Swells  from  the  vale,  and  midway  leaves  the  storm ; 
Though  round  its  breast  the  rolling  clouds  are  spread, 
Eternal  sunshine  settles  on  its  head.     — Goldsmith. 

8.    The  war  must  go  on  !     We  must  fight  it  through  1 

4.    Be  a  soldier  I     Be  a  hero  I     Be  a  man  ! 


188  PRACTICAL  ELOCUTION. 

6.        Can  storied  urn,  or  animated  l)ust, 

Back  to  its  mansion  call  the  fleeting  breath? 
Can  Honor's  voice  provoke  the  silent  dust, 
Or  Flattery  soothe  tiio  dull,  cold  ear  of  death? 

C.  If  ye  are  beasts,  then  stand  here  hkc  fat  oxen,  waiting 
for  the  butcher's  knife  !  If  ye  are  men, — follow  me.'  Strike 
down  yon  guard,  gain  the  mountain  passes,  and  there  do 
bloody  work,  as  did  your  sires  at  old  Thermopylae  ! 

— E.  Kellogg. 

7  When  can  their  glory  fiide  ? 

Oh,  the  wild  cliarge  they  made  ! 

All  the  world  wondered. 
Honor  tiie  charge  they  made  ! 
Honor  the  Light  Brigade, — 
Noble  six  hundred ! 

— Tennyson. 

8.  The  charge  is  utterh',  totally  and  meanly  false  ? 

9.  Though  I  speak  with  the  tongues  of  men  and  of  angds, 
and  have  not  charity,  I  am  become  as  sounding  brass,  or  a 
tinkling  cymbal.  And  though  I  have  the  gift  of  prophecy, 
and  understand  all  mysteries,  and  all  knowledge;  and 
though  I  have  all  faith,  so  that  I  could  remove  mountains, 
and  have  not  charity,  I  am  nothing.  And  though  I  bestow 
all  my  goods  to  feed  the  poor,  and  though  I  give  my  body  to 
be  burned,  and  have  not  charity,  it  profiteth  me  nothing. 
Charity  sufTereth  long,  and  is  kind  ;  charity  envieth  not; 
charity  vaunteth  not  ifself,  is  not  puffed  up,  doth  not  behave 
itself  unseemly,  seeketh  not  her  own,  is  not  easily  provoked, 
thinketh  no  evil,  rejoiceth  not  in  iniquity,  but  rejoiceth  in 
the  trulh  ;  beareth  all  things,  bolieveth  all  things,  hopeth  all 
things.  Cliarity  never  failcth  :  but  whether  there  be  prophe- 
cies, they  shall  fail  ;  whether  there  be  tongues,  they  shall 
cease ;  whether  there  be  knowledge,  it  shall  vanish  away. 
For  we  know  in  part,  and  we  prophesy  in  part.  But  when 
that  which  is  perfect  is  come,  then  that  which  is  in  jiart  shall 
be  done  away.  When  I  was  a  child,  I  spake  as  a  child,  I 
understood  as  a  child,  I  thought  as  a  child  ;  but  when  I 
became  a  man,  I  put  away  childish  things.  For  now  we  see 
through  a  glass  darkly,  but  then  face  to  face  :  now  I  know 
in  part,  but  then  shall  I  know  even  as  also  I  am  known. 


EXPRESSION— EXAMPLES  OF  SLIDES.  139 

And  now  abideth  faith,  hope,  charity, — these  three;  but  the 
greatest  of  these  is  charity. — Bible 


EXAMPLES  IN  WAVE  OR  CIRCUMFLEX. 


1.  Oh,  a  wonderful  stream  is  the  river  of  Time, 

As  it  runs  through  the  realm  of  tears?, 
With  a  faultless  rhythm  and  a  musical  rhyme, 
And  a  boundless  sweep  and  a  surge  sublime, 

As  it  blends  with  the  ocean  of  years. 

—B.  F.  Taylor. 

2.  It  took  Eome  three  hundred  years  to  die ;  and  our 
death,  if  we  perish,  will  be  as  much  more  terrific  as  our  in- 
telligence and  free  institutions  have  given  to  us  more  bone 
and  sinew  and  vitality.  May  God  liide  me  from  the  day 
when  the  dying  agonies  of  my  country  shall  begin  !  O  thou 
beloved  land,  bound  together  by  the  ties  of  brotherhood,  and 
common  interest,  and  perils,  live  forever — one  and  undi- 
vided ! — Lyman  Beecher. 

3.  And  this  man 

Is  now  become  a  god  ;  and  Cassius  is 

A  wretched  creature,  and  must  bend  his  body, 

If  Caesar  carelessly  but  nod  on  him. 

He  had  a  fever  when  he  was  in  Spain, 

And,  when  the  fit  was  on  him,  I  did  mark 

How  he  did  shake  :  'tis  true,  this  god  did  shake: 

His  coward  lips  did  from  their  color  fly  ; 

And  that  same  eye,  whose  bend  doth  awe  the  world, 

Did  lose  its  lustre. — Shakspeare. 

4.  Are  fleets  and  armies  necessary  to  a  work  of  love  and 
reconciliation  ?  Have  we  shown  ourselves  so  unwilHng  to 
be  reconciled,  that  force  must  be  called  in  Ij  win  back  our 
love? 

5.  None  dared  v/ithstand  him  to  his  face. 
But  one  sly  maiden  spake  aside  : 

"  The  Httle  witch  is  ovil-eyed. 
Her  mother  only  killed  a  cow, 
Or  witched  a  churn,  or  dairy-Tpsin, 
But  she,  forsooth,  must  charm  a  man." 


140  PRACTICAL  ELOCUTION. 

6.      My  feet  are  wearied  and  my  hands  are  tired, 
My  soul  oppressed; 
And  with  desire  have  I  long  desired 
Best — only  rest. 

7.  Rich  in  a  dozen  paltry  villages  !  Strong  in  a  hundred 
Bpearnien  !  but  only  great  in  that  strange  spell  a  name  ! 

8.  The  earth  is  the  Lord's  and  the  fullness  thereof;  the 
world,  and  they  that  dwell  therein. 

9.  I  saw  a  man 

Deal  Death  unto  his  brother.     Drop  by  drop 
The  poison  was  distilled  for  cursed  gold ; 
And  in  the  wine  cup's  ruddy  glow  sat  Death, 
Invisible  to  that  poor  trembling  slave. 

— E.  Evans  Edwards. 

10.  ORome!  Rome!  thou  hast  been  a  tender  nurse  to 
me.  Ay!  thou  hast  given  to  that  poor,  gentle,  timid  shep- 
herd-lad, who  never  knew  a  harsher  tone  than  a  tlnte-note, 
muscles  of  iron  and  a  heart  of  flint ;  taught  him  to  drive  the 
swortl  through  plaited  mail  and  links  of  rugged  l)rass,  and 
warm  it  in  the  marrow  of  his  foe: — to  gaze  into  the  glaring 
eye-balls  of  the  fierce  Numidian  lion  even  as  a  boy  upon  a 
laughing-girl ! 

11.  Alternate  the  Rising  and  Falling  Circumflex  in  the 
following :     Did  you  say  no,  or  no  ?    I  said  no,  not  no. 


GESTURE. 


Gesture  is  posture  or  action,  expressive  of  sentiment  and 
emotion.  While  Speech  is  the  verbal  manifestation  of  thought 
and  feeling,  Gesture  is  the  silent,  hut  no  less  eloquent  exposi- 
tor of  the  same  workings  of  the  soul.  It  supplements 
speech,  and  by  its  added  grace,  emphasis,  and  illustration, 
furnishes  to  the  hearer  a  picture  complete  in  all  its  parts. 

It  is  not  the  object  to  present  here  a  series  of  rules  upon 
which  the  student  is  expected  to  rely.  True  art  never 
cables  itself  to  mechanical  forms — its  inspiration  and  powei 
emanate  from  the  soul  of  the  speaker.  There  are,  however, 
certain  naturallaws  which  control  all  our  actions,  and  upon 
these  are  based  the  Topics  presented  in  the  following  outline : 


p5 
\D 
E-i 
02 

O 

Eh 
P 
O 


ConTersational 


Oratorical. 


Dramatic. 


(  Passive. 
ntion.  -j 

(  Active. 

f  Head. 


Movements 

of 

Body. 


I  Location. 
Purpose.  \   Illustration. 
I  Emphasis. 


f  Straight. 


Arm.    "i 


Lina. 


Curved. 


Facial  Exj/ression. 


.  Position  of  ITand. 
Lower  Limbs. 

Uiiimpassioned. 


Middle. 

Ascending. 

Descending 

Supine. 
Prone. 

Vertical. 


Impassioned. 


141 


2  PRACTICAL  ELOCUTION. 

Gesture,  with  reference  to  sentiment,  is  divided  into—' 

Conversational, 

Oratorical, 

Dramatic. 

Contersational  Gestures  are  nsed  in  unemotional  lan- 
guage. 

The  position  should  be  erect,  easy  and  natural ;  the  arm 
movements  should  usually  centre  at  the  elbow,  and  the 
expression  of  the  countenance  be  open  and  cheerful. 

Oratorical  Gestures  delineate  the  earnest,  the  lofty,  and 
the  sublime.  Hence,  the  position  is  not  only  erect,  but  active; 
the  arm  movements  are  mainly  from  the  shoulder,  and  the 
expression  of  the  face  is  confident  and  animated. 

Dramatic  Gestures  relate  to  the  drama  and  to  all  deeply 
impassioned  language.  They  are  the  exponent  of  the 
passions,  and  require  great  intensity  of  feeling  in  position, 
movement,  and  facial  expression. 

Note. — Any  one  of  the  divisions  above  named  may  be  found  closely  combiDed 
▼ith  either,  or  both  of  the  others,  as  shown  in  the  following  examples: 

So  through  the  night  rode  Paul  Revere  ! 

And  so  through  the  night  went  his  cry  of  alarm 

To  every  Middlesex  village  and  farm — 

A  cry  of  defiance,  and  not  of  fear, 

A  voice  in  the  darkness,  a  knock  at  the  door. 

And  a  word  tliat  shall  echo  forevermore  ! 

— Longfellow. 

Then  suddenly  rang  a  sharp,  low  cry ! 

Bess  sank  on  her  knees,  and  wildly  tossed 
Eer  withered  arms  in  the  summer  skv — 

"  0,  Willie  !  Willie  !  my  lad  !  my  lost! 
The  Lord  be  praised  !  after  sixty  years 

I  see  you  again  !     Tlie  tears  you  cost, 
O,  Willie  darlin',  were  bitter  tears  ! 

— Hamilton  Aide,  "  Lost  and  Found." 


position: 


By  Position  is  meant  the  way  in  which  a  person  stands  in 
speaking,  whether  it  be  in  the  parlor,  the  counting-room,  the 
pulpLtor  at  the  bar.  It  is  certain  that  curved  spine,  drooped 
shoulders,  protruded  chin  and  bent  knees  are  not  only  inele- 
gant, but  they,  to  a  great  degree,  indicate  mental  or  physical 
weakness. 

A  healthful  and  graceful  carriage  demands  that  the  head 
be  kept  easily  erect,  the  shoulders  thrown  sufficiently  back  to 
give  an  open  chest,  and  that  the  weight  of  the  body  rest  upon 
the  supporting  limb,  the  knee  of  the  same  kept  firm.  Care 
should  also  be  taken  that  the  feet  be  properly  placed.  With- 
out minute  description,  let  it  be  observed  that  one  foot  be 
placed  in  advance  of  the  other,  the  heel  of  the  advanced  foot 
pointing  to  the  hollow  of  the  retired  one,  the  distance 
between  them  depending  upon  the  size  and  build  of  the 
speaker.  Greater  freedom  is  thus  given  to  the  whole  body 
without  a  loss  of  its  equilibrium. 

Position  may  assume  two  forms — 

First,  the  Passive  Position,  in  which  there  is  absence  of 
passion.  This  is  the  most  common  attitude  of  the  speaker, 
and  sustains  to  Gesture  the  same  relation  as  Pure  Quality 
of  voice  to  Conversation. 

Second,  the  Active  Position,  which  represents  intensity  of 
thought  and  feeling.  The  head  is  more  firmly  set^  the  chest 
more  expanded,  the  lower  limbs  are  more  decided  and  the 
Advanced  and  Retired  Postures  strongly  marked,  often  to 
Buch  a  degree  that  the  unsupporting  limb  may  be  thrown 
upon  the  toes. 

The  Passive  Position  is  in  harmony  with  unemotional 
language  whether  it  be  ordinary  conversation,  didactic  ex- 
pression, or  plain  argument. 


144  PRACTICAL  ELOCUTION. 

Examples  for  practice — 

1.  It  is  better  to  inspire  the  heart  with  a  noble  sentiment 
than  to  teach  the  mind  a  truth  of  science. — Edward  Brooks. 

2.  The  melancholy  days  are  come,   the    saddest    of  th« 

Of  wailing  winds  and  naked  woods  and  meadows  brown 

and  sere; 
Heaped  in  the  hollows  of  the  grove,  the  autumn  leaves 

lie  dead  ; 
They  rustle  to  the  eddying  gnat  and  to  the  rabbit's 

tread; 
The  robin  and  the  wren  are  flown,  and  from  the  shrubs 

the  jay, 
4.nd  from  the  wood-top  calls  the  crow  through  all  the 

gloomy  day. — Bryant,  "  Death  of  the  Flowers." 

The  Active  Position  may  represent  earnest,  enthusiastic 
bold  or  impassioned  speech,  in  which  case  the  weight  of  the 
body  is  thrown  upon  the  advanced  limb.  It  may  represent 
that  which  is  decided,  determined,  resistent  or  independent, 
in  which  case  the  weight  of  the  body  is  thrown  upon  the 
retired  limb. 

Examples  of  Active — Advanced — 

1.  Gray  nose  to  gray  nose,  and  each  steady  mustang. 
Stretched  neck  and  stretched  nerve  till  the  arid  earth 

rang. — Joaquin  Miller,  ''Kit  Carso7i's  Ride." 

2.  Not  in  vain  the  distance  beacons.     Forward,  forwarr" 

let  us  range ! 
Let  the  great  world  spin   forever   down   the   ringing 

grooves  of  change! 
Through  the  shadow  of  the  globe  we  sweep  into  the 

younger  day ; 
Bev^er  fifty  years  of  Europe  than  a  cycle  of  Cathay. 
—  Tennyson,  "  Locksley  Hall." 

3.  "O  comrades!  warriors!  Thracians!  if  we  must  fight, 
let  us  fight  for  ourselves  ;  if  we  must  slaughter,  let  us  slaugh- 
ter our  oppressors ;  if  we  must  die,  let  us  die  under  the  opeu 


GESTURE — MOVEMENTS  OF   THE   BODY.  145 

sky,  by  the  bright  waters,  in  noble,  honorable  battle." — Elijah 
Kellogg. 

Examples  of  Active — Retired — 

1.  Come  with  bayonets  in  your  hands  instead  of  petitions 
— surround  the  White  House  with  your  legions — I  am  ready 
for  you  all ! — George  Lippard,  "Andrew  Jackson." 

2.  Talk  not  to  me 

Of  odds  or  match  !     When  Comyn  died, 
Three  daggers  clashed  within  his  side ! 
Talk  not  to  me  of  sheltering  hall ! 
The  Church  of  God  saw  Comyn  fall ! 
On  God's  own  altar  streamed  his  blood  ; 
While  o'er  my  prostrate  kinsman  stood 
The  ruthless  murderer,  even  as  now, — 
With  armed  hand  and  scornful  brow. 

—Sir  Walter  Scott,  "  Lord  of  the  Isles." 

3.  "Wliat!  to  attribute  the  sacred  sanctions  of  God  and 
Nature,  to  the  massacres  of  the  Indian  seal  ping-knife !  to  the 
cannibal  savage,  torturing,  murdering,  devouring,  drinking 
the  blood  of  his  mangled  victims!  Such  notions  shock  every 
precept  of  morality,  every  feeling  of  humanity,  every  senti- 
ment of  honor.  These  abominable  principles,  and  this  more 
abominable  avowal  of  them,  demand  the  most  decisive  in- 
dignation."— From  ChcUham's  Rebuke  of  Lord  Suffolk. 

Note. — The  principles  above  presented  are  not  designed  to  cover  the  entire 
ground  of  Position.  Enough  has  been  stated  to  give  a  general  idea  of  the  sub- 
ject; other  attitudes,  largely  under  characterization,  must  be  left  to  the 
taste  and  judgment  of  the  speaker. 


MOVEMENTS  OF  THE  BODY. 

Movements  of  the  Body  are  those  of  the  Head,  the  Arm, 
and  the  Lower  Limbs.  These  movements  should  be  free, 
natural  and  significant. 

HEAD. 

The  head  movements  should  not  only  be  varied  in  harmony 


PRACTICAL  ELOCUTION. 

with  the  sentiment,  but  they  should  also  he  directed  to  th« 
individual  liearers  througliout  the  audience.  This  will  show 
that  the  words  are  not  meant  for  the  separate  few,  but  are 
designed  for  every  one  in  the  assemblage. 

On  the  other  hand,  the  speaker  should  carefully  guard 
Rgainst  too  frequent  chnnge  of  this  important  member. 
Nothing  is  more  unpleasant  than  a  constant  or  habitual 
movement  of  the  head. 


ARM. 

Purpose. — The  movements  of  the  arm  are  for  the  purpose 
of  giving  clearer  meaning  or  greater  stress  to  a  word  or  an 
expression  than  can  be  given  by  voice  only.  This  purpose 
may  be  shown  in  three  ways  : 

First.  In  the  location  of  an  object,  thus  bringing  it  more 
vividly  before  the  mind  of  the  auditor — hence  Gestures  of 
Location. 

Second.  To  describe  or  show  how  or  in  what  way  some- 
thing appeared  or  was  aflfected  or  imitated — hence  Gestures 
of  Illustraiion. 

Third.  To  give  greater  intensity  to  words  by  the  degree 
of  force  culminating  the  movement — hence  Gestures  of 
EmpJiasis. 

Note  1. — Gestures  of  Location  and  Illuatratlon  present  themselves  readily  in 
all  kinds  of  language— the  student  must,  however,  guard  against  making  more 
than  are  either  necessary  or  true. 

NoTK  2. — Emphatic  Gestures  are  less  readily  discovered,  and  are  for  this 
reason  less  liable  to  extremes  in  manner.  The  best  means  of  ascertaining  the 
V)lace  of  the  Emphatic  Gesture  is  to  thoroughly  comprehend  the  meaning  of 
the  passage  to  be  rendered,  giving  to  the  Tnosl  vital  part  of  it  the  needed  gesture. 

Note  3. — By  the  classification  just  made  it  mast  not  be  understood  that  fhe 
thre«  forms  of  Gesture  always  exist  separately;  they  are  sometimes  combined— 
this  is  especially  true  of  the  Emphatic  Gesture,  which  frequently  blend*  witt 
»oe  of  the  others. 


GESTURE — MOVEMENTS   OF  THE   BODT.  147 

EXAMPLES  FOR  PRACTICE. 


Location- 


Far  aloft  ill  that  high  steeple 
Sat  the  bell-man,  old  and  gray. 

— Independence  Bell. 

There  the  troop  of  Minon  wheels, 

There  the  Northern  horses  thunder  with  the  cannon  at 
their  heels. —  Whittier:  "Angels  of  Bucna  Vista." 

Illustration-* 

Straight  the  ancient  Arrow-maker 
Looked  up  gravely  from  his  labor, 
Laid  aside  the  unfinished  arrow, 
Bade  him  enter  at  the  doorway; 
Saying,  as  he  rose  to  meet  him, 
You  are  xvelcome,  Hiawatha. 

— Longfelloio  :  ''  Song  of  Hiawatha." 

She  leans  upon  his  neck 
To  watch  the  fiowing  darkness  ; 
The  bank  is  high  and  steep  ; 
One  pause — he  staggers  forward, 
AxiA  plunges  in  the  deep. 

— Adelaide  Proctor:  "  Legend  of  Bre^ene." 

Emphasis— 

The  war  is  inevitable  ! 

I  tell  you,  though  you,  though  all  the  woHd,  though  an 
angel  from  Heaven  should  declare  the  truth  of  it,  I  would  not 

brlieve  it. 

Lines. — Movements  of  the  Arm  must  be  made  in  certain 
lines.  According  to  natural  laws  these  lines  are  either 
straight  or  curved — wliether  the  assertion  be  conversational, 
oratorical  or  dramatic. 

Guiding  Principles :  Forcible,  determined,  abrupt  and 
bold  expressions  require  straight  lines;  such  as  are  beautiful 


548  PKAd'IOAI.   ELOCUTION. 

graceful,    genial,    grave,    grand  and    exultant   require  tho 
curves. 

EXAMPLES. 

Straight — 

Down,  soothless  insulter !  I  trust  not  the  tale. 

— Campbell:  "  Lochiel's  Warning.'* 

A  lie  which  is  all  a  lie,  may  be  met  and  fought  with  outright/ 
But  a  lie  which  is  part  a  truth  is  a  liarder  matter  to  fight. 
— Tennyson:  "  The  Grandmother." 

Curved — 

The  Niobe  of  nations  !  there  she  stands, 
Childless  and  crownless  in  her  voiceless  woe  ! 

—Byron :  "  Childe  Harold." 

One  touch  to  her  hand  and  one  word  in  her  ear, 
When  they  reached  the  hall  door  where  the  charger  stood 
near. — Scott:  " Lochinvar." 

It  is  further  demonstrable  by  the  same  laws  that  these 
lines  must  take  a  Middle,  an  Ascending,  or  a  Descending 
direction. 

Such  ideas  as  indicate  ordinary  events,  plain  statement 
and  description,  emotional  address  or  reference  to  substance, 
real    or  imagined,  surrounding,   require  a  middle  direction. 

Reference  to  substance,  real  or  imagined,  located  above; 
pure,  noble,  lofty  and  exultant  emotions,  and  all  ideas 
prompted  by  an  approving  conscience  naturally  require  an 
ascending  direction. 

Reference  to  substance,  real  or  imagined,  located  below, 
base,  abject,  grovelling  emotions;  frequently  strong  em- 
phatic assertions,  and  all  ideas  prompted  by  a  disapproving 
conscience,  naturally  take  a  descending  direction. 

These  general  directions  may  carry  the  hand  to  the  fronts 


3ESTURE — MOVEMENTS   OP  THE   BODY. 

the  side,  vha  back  or  points  between,  as  may  be  shown  by 
the  character  of  the  assertion.  Thus  it  will  be  seen  that  by 
line  and  direction,  the  movements  of  the  arm  may  be  varied, 
for  the  purpose  of  adding  strength  to  uttered  thought. 

Wliile  a  speaker  is  allowed  the  largest  liberty  in  manner,  so 
long  as  he  keeps  within  the  hniit  of  good  taste,  yet  he  who  is 
most  natural,  most  artistic  and  most  impressive,  is  the  one  who 
evinces  the  clearest  conception  of  what  he  wishes  to  convey; 
and  this  must  necessarily  call  out  variety  of  motion.  Gesture, 
like  speech,  has  in  a  sense,  its  modulations,  and  he  who 
conceives  correctly  will  never  be  monotonous. 

Position  op  Hand. — Excepting  the  face,  the  hand  con-- 
stitutes  the  strongest  silent  medium  of  communication, 
and  its  interpretation  almost  exclusively  depends  upon  the 
position  it  assumes  under  different  phases  of  expression. 
Sheridan  says:  "Every  one  knows  that  with  the  hands  we 
can  demand  or  promise,  call,  dismiss,  threaten,  supplicate, 
ask,  deny,  show  joy,  sorrow,  detestation,  fear,  confession, 
penitence,  admonition,  respect,  and  many  other  things  now 
in  common  use."  The  positions  of  the  hand  are  defined 
by  the  common  terms  of  Supine,  Prone,  and  Vertical. 

The  Supine  Position  is  extremely  broad  in  its  application. 
It  may  be  used  in  ordinary,  beautiful  and  sublime  descrip- 
tion; in  address  to  objects  animate  and  inanimate;  in  com- 
manding, entreating,  welcoming,  commending  and  kindred 
ideas,  and  in  elucidating  or  intensifying  a  statement  or 
argument. 

The  Hand  Prone  usually  shows  superposition  or  the  resting 
of  one  object,  fact  or  principle  upon  another.  It  may  also 
denote  destruction  to  life,  morally  or  physically,  and  in  a 
certain  sense,  shows  treachery  or  concealment. 

Tlie  Hand  Vertical  indicates  aversion  or  abhorrence  of  an 
object  which  is  distasteful,  disgusting,  or  terrible;  it  is  also 
used  in  surprise,  and  to  deprecate  or  deplore  an  unavoidable 
circumstance  or  calamity. 


150  PRACTICAL   FAjOCVTlon. 


DOUBLE  GESTURES. 

Double  gestures  have  the  same  general  meaning  as  th« 
eingle  ones.  Their  specific  use  is  to  sliow  broader  expanse  of 
objects,  greater  breadth  of  thought,  and  more  intensity  of 
emotion  than  can  be  given  by  one  hand  only. 

In  the  preceding  classification,  with  reference  to  the  different  positions  of  the 
hand,  only  leading  terms  are  noted,  in  the  belief  that  the  student  will  be  able 
from  these  to  draw  correct  conclusions  with  reference  to  others. 


EXAMPLES  FOR  PRACTICE. 

MIDDLE  LINES— ONE  HAND  SUPINE. 

1.  "  No   pleasure   is  comparable  to  the  standing  on  the 
vantage-ground  of  truth." 

2.  "Before  him  lay  the  unexplored  future." 

3.  "I  give  thee  in  thy  teeth  the  lie  !  " 

4.  "  Wisdom  is  better  than  riches." 

0.  "  Wliat  is  man  that  Thou  art  mindful  of  him  ?  " 

6.  "  I  freely  grant  all  that  you  demand." 

7.  "  Whatever  impedes  his  progress  shall  be  removed." 

8.  "The  breeze  died  away  as  the  sun  sank  behind  the 
Western  hills." 

9.  "A  distant  sail  appeared  on  the  verge  of  the  horizon." 

10.  "  I  see  the  silent  Ocean  of  the  Past,  a  waste  of  waters 
weltering  over  graves." 

BOTH  HANDS  SUPINE. 

1.  "  His  talents  he  deposited  on  the  altar  of  hia  country." 

2.  "  Forward  !  Forward,  let  us  range  !  " 

3.  "To  freedom  she  leaped  through  drowning  and  death." 


QESTURB — MOVEMENTS  OF  THE  BODY.  151 

4.  "  Our  deeds  determine  us  as  much  as  we  determine  our 
deeds." 

5.  "  0  delightful  legacy  of  a  spotless  reputation^' 

6.  "They  tell   us   to  be  moderate,  but  they — they  are  to 
revel  in  profusion." 

7.  "  One  vast  realm  of  wonder  spreads  around." 

8.  "  Proclaim  the  tidings  to  all  people." 

9.  "  May  my  country  exist  to  the  latest  day  in  the  plerU' 
iude  of  liberty  and  happiness." 

ASCENDING  LINES — ONE  HAND  SUPINE. 

1.  "  Eternal  King  !  Author  of  all  being." 

2.  "  Hope  is  above  us  beckoning  us  onward." 

3.  "Flag  of  the  free  heart's  hope  and  home !  " 

4.  "High  in   the   political   horizon   stands   the   name    of 
Washington." 

5.  "  Fix  your  eye  upon  excellence." 

6.  "A  new  immortal  wakes — wakes  with  his  God !  " 

7.  "  Higher  yet,  rose  the  majestic  anthem  without  pause." 

8.  "  Columbia,  Columbia,  to  glory  arise." 

9.  "Away — Oh  !  away — soars  the  fearless  and  free." 

BOTH  HANDS  SUPINE. 

1.  "  Mighty  one— all  hail !  " 

2.  "  Give  your  children  food,  0  Father !  " 

3.  "  Take  my  spirit,  All-Omnipotent  to  Thee." 

4.  "  Ye  crags  and  peaks,  I'm  with  you  once  again." 

5.  "Ye  golden  lamps  of  heaven,  farewell." 

6.  "  Spii-Us  of  freedom,  ix\{d^Qn  all!" 


152  PRACTICAL  EIX)CUTIOK. 

7     "  Joy,  joy  forever!  my  Uisk  is  done!  " 

8.  "  Rrjoice .'  the  land  is  free  !  " 

9.  "  Shoul,  Earth  and  Heaven,  the  sura  of  good  to  man." 

DESCENDING  LINES — ONE  HAND  SUPINE. 

1.  "The  truth  of  his  whole  statement  I  do  most  peremp- 
torily deny." 

2.  "Down,  down  forty  fathoms  beneath  the  blue  wave." 

3.  "  I  will  protest  against  such  a  measure." 

4.  "  Prejudice  is  often /ata/." 

5.  "  Full  many  a  gem  of  purest  ray  serene, 
The  dark  unfathomed  caves  of  ocean  bear." 

G.     "  The  first  test  of  a  truly  great  man  is  his  humility." 

7.  "  He  has  become  too  vile  for  association." 

8.  "Thou  shalt  lie  down  with  -patriarchs  of  the   infant 
world." 

9.  "  Poison  and  plague  and  yelling  rage  have  fled," 

BOTH  HANDS  SUPINE. 

1.  "All  my  fortunes  at  thy  feet  I'll  lay !  " 

2.  "  O  mighty  Ctesar  !  Dost  thou  lie  so  low  ?  " 

3.  "  Thus  I  devote  thee  to  the  infernal  goda !  " 

4.  "  By  the  rivers  of  Babylon  there  we  sat  down ;  yea  we 
wept,  when  we  remembereJ  Zion." 

5.  "  We  consign  their  ashes  to  the  cold,  dark  tomb." 

6.  "  We  have  no  concessions  to  make,  my  lord." 

7.  "  Nature  hears  the  shock  and  hurh  her  fabric  to  the 
dust." 

8.  "  I  utterly  renounce  the  project !  " 

9.  "  Of  all  earth's  grovelling  crew  the  most  accursed  t" 


GESTURE — MOVEMENTS  OP  THE  BODY.  163 

MIDDLE  LINES — ONE  HAND  PRONK. 

1.  "Peace  be  unto  ttiee." 

2.  "  1  prohibit  the  signing  of  such  a  paper." 

3.  "  On  stream  and  wood  the  moonbeams  rest,  like  a  pale 
ipotless  shroud." 

4.  "  I  charge  you  all,  restrain  such  propensities." 

5.  "A  profound  awe  crept  over  the  multitude." 

6.  "  Now  o'er  the  one-half  world  Nature  seems  dead." 

BOTH  HANDS  PRONE. 

1.  "  May  the  blessings  of  Heaven  rest  upon  thee." 

2.  "With    our  hands  tipon  the    altar,   we  swear  eternal 
fealty." 

3.  "  The  Angel  of  Death  spread  his  wings  on  the  blast." 

4.  "  Oiie  dead  silence  reigned  over  the  spot." 

5.  "  Deep  stillness  fell  on  all  around." 

6.  "Spread  the  glad  tidings  from  shore  to  shore." 

ASCENDING   LINES — ONE   HAND  PRONE. 

1.  "  We  crown  her  the  land  of  a  hundred  years  !" 

2.  "  Justice  cries  :     Forbear  !  " 

3.  "  High  o'er  us  soared  Great  Lookout." 

4.  "  They  little  knew  the  danger  impending  o'er  their  city." 

5.  "  Like  a  glory  the  broad  sure 

Hangs  over  sainted  Lebanon." 

••      "A  midnight  gloom  reigned  over  the  farthest  height." 

BOTH   HANDS  PRONE. 

1.     "  Bless  the  Lord,  0  my  soul  I" 


1<'>4  fRACTICAL  ELOCUTIOir. 

2.     "  Sink,  O  Night,  among  the  mountains.'* 

8.  "Wings  ^bove  life  to  soar, 

And  heyuiul  death  forevermore.** 

4.  "  Jiang  be  the  heavens  with  black." 

5.  "  It  shall  open  wide  its  portals, 

The  city  of  the  tree." 

6.  "  He  saw  above  a  ruined  world  the  Bow  of  Promise  rise. 

DESCENDING  LINES — ONE  HAND  PRONE. 

1.  "  Pray  you,  tread  softly." 

2.  "  I  cannot  repress  my  indignation." 

3.  ■'  Her  keel  hath  struck  on  a  hidden  rock." 

4.  "Blighted  are  all  his  prospects.'' 

5.  "  Thou  art  too  base  for  man  to  tread  upon." 

6.  "Angel,  roll  the  rock  away." 

7.  "  Fear  sJirinks  trembling  into  the  deepest  shadows." 

BOTH  HANDS  PRONE. 

1.  "  "Lie  lightly  on  him  earth." 

2.  "  Sons  of  dust,  in  reverence  how." 

3.  "  The  idols  are  broke  in  the  temple  of  Baal." 

4.  "We  are  in  Thy  sight,  worms  of  the  dust." 

5.  "  Ignorance  dissolves  before  the  light  of  knowledge.** 

6.  "  Open  fly  the  infernal  gates !" 

MIDDLE   LINES — HAND   VERTICAL. 

1.  "  Back  to  thy  punishment,  false  fugitive." 

2.  "The  thought  is  truly  repugnant." 

8.  "  Hia  arm  warded  off  the  blow." 


GESTURE — MOVEMENTS  OF  THE  BODY.  166 

4.  "  He  evaded  ixW  questions." 

5.  "  Go,  get  thee  from  me,  Cromwell  1" 

6.  "  False  wizard,  avaunt  /" 

7.  "  Get  thee  back.  Sorrow,  get  thee  back." 

BOTH   HANDS   VERTICAL. 

1.  "  Advanced  in  view  they  stand,  a  horrid  frorU.^* 

2.  "  With  united  hearts  let  us  drive  back  the  invaders.** 

3.  "  Their  separation  was  final." 

4.  "  Let  them  remain,  disunited  forever." 

5.  "  Avaunt,  and  quit  my  sight!" 

6.  "  The  land  was  rent  with  civil  strife." 

ASCENDING   LINES — ONE   HAND  VERTICAL. 

1.  "  While  we  bow  before  thee,  turn  away  thine  •nger.* 

2.  "  Oh,  forbid  it,  Heaven  !" 

3-     "  3Iay  the  impending  ruin  be  averted !" 

4.  "  Cossack  and  Russian, 

Reeled  from  the  sabre-etroke. 
Shattered  and  sundered." 

5.  "  Away,  delusive  phantom !" 

6.  "  Unreal  mockery,  hence  !" 

BOTH    HANDS  VERTICAL. 

1.  "Avert,  O  God,  the  terrible  calamity." 

2.  "  Hide  your  faces,  holy  angels  !" 

3.  "O  horror!  horror!  horror!" 

4.  "  Angels  and  Ministers  of  Grace,  defend  us." 

5.  "  Burst  are  the  prison  bars." 


156  PRACTICAL  ELOCUTIOW. 

«.  •' Cel  est  i  anight 

Dispels  the  gloomy  shades  of  night." 


Note. — While  the  hand  through  the  motions  of  the  arm,  reaches  cerlsln 
points,  and  assumes  certain  positions,  such  as  have  heen  named  and  exempli, 
fled,  the  studi'iit  must  not  conclude  that  these  comprise  all  the  positions  and 
movements  of  the  hand.  While  those  classed  are  most  frequently  used,  there 
are  many  others  which  as  justly  belong  to  the  speaker's  range  of  expression. 
▲  few  of  the  more  prominent  of  these  are  presented  in  the  following 


EXAIifPLES  FOR  PRACTICE. 

HAXD  RAISED  TO  CALL  ATTENTION. 

"  Huah  I  ITmh  !  Thou  vaiu  dreamer,  this  hour  is  lier  htst.* 

HAND  AVAVED  OR  FLOURISHED — TRIUMPH,   JOY,   OR  EXULTATION. 

"  Flag  of  Freedom  and  Union  wave." 
"  Lo/  They  come,  they  come !" 

HAND  ON  HEAD — INTENSE  THOUGHT  OR  MENTAL  SUFFERING. 

"  Blessed  mother,  save  my  brain." 

HANT>  ON  CHEST — HOPE  OR  APPEAL  TO  CONSCIENCE. 

"  Eight  ?    Who  says  right  ?  " 

*'  My  conscience  says  right,  and  that  is  enough." 

HAND  ON  HEART. 

"Be  still,  sad  heart!  and  cease  repining." 
*  Let  my  heart  he  s/iV?  a  moment  and  this  mystery  explore.** 

HANDS  CLASPED— PRAYER  OR  PETITION. 


Oh,  for  heaven's  snke,  spare  me  I 
'  O  Thou,  Christ  of  Godjorgivel" 


GESTURE — MOVEMENTS   OF  THE   BODY.  157 

HANDS  WRUNG— AFFLICTION. 

"0  pardon  me,  thou  piece  of  bleeding  earth." 

HANDS  CLINCHED — ANGER,  DEFIANCE. 
ONE  HAND. 

"  I  defy  hi.ui  I  let  him  come !  " 

BOTH  HANDS. 

"  TWJight  tilJ  from  my  bones  my  flesh  be  hacked  I " 

HAND  RAISED. 

"She  prayed,  her  withered  hand  uprearing, 
God,  who  art  never  out  of  hearing, 
0,  inay  he  never  more  be  warm." 

HANDS  RAISED — PALMS  NEARLY  FACING — ADORATION,  WONDER,  AC. 

*'  Still  the  infinite  heavens  rang  with  the  Holy,  Holy  ever- 
more!" 

HAND  DROPPED. 

"Tliat  hand  was  cold,  a  frozen  thing, 
It  dropped  from  his  like  lead." 

DRAWING  SWORD. 

"By  torch  and  trumj^et  fast  arrayed 
Each  warrior  drew  his  battle  blade." 

WRAPPING  DRAPERY. 

"  He  in  his  robe  of  virtue  wraps  himself, 
And  smiles  at  Fate's  caprice." 


LOWER  LIMBS. 

In  addition  to  the  general  use  of  the  lower  limbs,  as  ex- 
plained under  Position,  strongly  dramatic  passages  call  foi 


158  PRACmCAL  ELOCUTIOK. 

corresponding  movements.  Tlieae  are  suggested  by  the  fol« 
lowing  Guiding  Principles.  The  lower  limbs  bend  in  timid- 
ity, advance  in  courage  or  progression,  retire  in  fear  or  cau* 
tion,  stamp  in  rage,  and  start  in  terror. 

INDEX   FINGER. 

A  proper  use  of  the  index  finger  not  only  gives  variety  to 
gesture,  but  it  enforces  an  assertion  most  effectively,  espe- 
cially when  used  to  distinguish  one  from  a  collection,  a  part 
from  the  whole,  or  to  threaten,  warn,  or  deride. 

EXAMPLES. 

1.  "  Yonder  stands  the  cottage  in  which  I  was  born." 

2.  "You  shall  dip,  base  dog,  and  that  before  yon  cloud  has 
passed  over  tlie  sua." 

8.     "Look  to  your  hearths  my  lords." 

4.  Nathan  said  unto  David,  "  Thou  art  the  man." 

5.  *'  Lay  not  your  hand  upon  ruy  hoy." 


FACIAL  EXPRESSION. 


Tlie  face  is  the  mirror  of  the  emotions ;  hence  it  should  bt 
taught  to  reflect  promptly  all  changes  of  sentiment  and  feel- 
ing.  A  voice  may  be  perfect  in  its  modulations;  it  may  set 
itself  most  harmoniously  to  all  forms  of  uttered  language, 
yet  if  the  soul  of  the  speakor  does  not  bear  record,  by  index- 
ing itself  upon  the  countenance,  the  aim  attempted  is,  to  a 


GESTURE— FACIAL  EXPRESSION.  159 

very  great  degree,  marred.  Quiutilian  says,  "  The  face  is  the 
dominant  power  of  expression.  With  this  we  supplicate; 
with  this  we  threaten  ;  with  this  we  soothe ;  with  this  we 
movirn  ;  with  this  we  rejoice  ;  with  this  we  triumph ;  with 
this  we  make  our  submissions ;  upon  this  the  audience  hang ; 
upon  this  they  keep  their  eyes  fixed  ;  tliis  they  examine  and 
study  even  before  a  word  is  spoken." 

Facial  expression  may  be  divided  into  Unimpassioned  and 
Impassioned.  The  former  belongs  to  that  which  is  reposeful 
or  tranquil,  to  ordinary  conversation,  plain  narration  and 
description,  and  unimpassioned  argument.  The  latter  is 
used  in  all  kinds  of  emotional  language.  It  is  not  the 
design  in  this  limited  treatment  to  present  the  countenance 
under  all  the  varieties  of  thought  and  feeling.'  Some  guid- 
ing principles  are  offered,  together  with  examples  for  prac- 
tice. 

GUIDING  PRINCIPLES. 

1.  A  smiling  countenance  indicates  courtesy,  joy,  good 
huinor  and  happiness. 

2.  The  brows  contract,  the  eyes  burn,  and  the  lips  com.- 
press  in  anger  and  defiance. 

3.  The  nose  and  upper  lip  are  elevated  in  scorn  ;  and  the 
brows  are  raised,  the  eyes  opened,  and  the  lips  parted  in 
secresy,  surprise  and  fear. 

4.  The  face  is  dejected  and  softened  in  sorrow,  averted  in 
shame,  and  raised  in  supplication. 

EXAMPLES  FOR  PRACTICE. 

UNIMPASSIONED. 

1.  Every  evil  that  we  conquer  is  a  benefit  to  our  souls. 
The  Sandwich  Islander  believes  that  the  strength  and  valor 
of  the  enemy  he  kills,  passes  into  himself.    Spiritually,  it  is  so 


'.fiO  PRACTICAL  ELOCUTION. 

with  us,  for  we  gain  strength  from  every  temptation  we 
resist.  It  is  absurd  to  think  of  becoming  good  in  any- 
thing without  \uiderstanding  and  practicing  wliat  we  learn. 

2.  There  is  no  crown  in  the  world 
So  good  as  patience  ;  neither  is  any  i)eace 
That  God  puts  in  our  li{)S  to  drink  as  wine, 
More  honey-pure,  more  worthy  love's  own  praise. 
Than  that  sweet-soul ed  endurance  which  makes  clean 
The  iron  hands  of  anger. 

— Swinburne :  "  The  Queen  Mother." 

3.  TVTiy  weep  ye,  then,  for  him  who,  having  won 

The  bound  of  man's  ap])ointed  years  at  last, 
Life's  blessings  all  enjoyed,  life's  labors  done, 

Sei'enely  to  his  final  rest  has  passed, 
While  the  soft  memory  of  his  virtues  yet 
Lingers  hke  twilight  hues,  when  the  bright  sun  is  set. 
— Bryanl ;  from  "  Death  of  the  Good  Man." 


IMPASSIONED. 
REVERENCE. 

"  Father,  Thy  hand 
Hath  rear'd  these  venerable  columns  ;  Thou 
Dids't  weave  this  verdant  roof     Thou  dids't  look  down 
Upon  the  naked  earth,  and  forthwith  rose 
All  these  fair  ranks  of  trees." 

— Bryant :  from  "  Forest  Hymn.' 

PATHOS. 

"  Ah,  lady,  now  I  know  full  well 
What  'tis  to  be  an  orphan  boy." — Mrs.  Opie. 

JOYOUSNESS. 

"  Ring  out  the  old,  ring  in  the  new, 
Ring,  happy  bells, Across  the  snow: 
The  year  is  going,  let  him  go  ; 
Ring  out  the  false,  ring  in  the  true." 

— Tennyson:  " In  Memoriam.* 


GESTURE — FACIAL  EXPRESSION.  IGl 

SECRESY. 

"  Hush  !  Hark  !   Did  stealing  steps  go  by, 
Came  not  faint  whispers  near  ?" 

INDIGNANT  COMMAND. 

"Get  thee  back  into  the  tempest, 
And  the  night's  Plutonian  shore  1" 

ANGER. 

"  And  dar'st  thou,  then,  go  beard  the  lion  in  his  den, 
The  Douglass  in  his  hall  ? 
And  hop'st  thou  hence  unscathed  to  go  ? 
No  !  by  Saint  Bride  of  Bothwell,  no  I"— Scott:  "Marmion." 

DEFIANCE. 

"  Thy  threats,  thy  mercies  I  defy, 
And  give  thee  in  the  teeth  the  lie." 

RESIGNATION. 

"  Forever  and  forever,  all  in  a  blessed  home. 
And  there  to  wait  a  little  while,  till  you  and  Effie  come, 
To  lie  within  the  light  of  God,  as  I  lie  upon  your  breast,' 
And  the  wicked  ce;ise  from  troubling,  and  the  weary  are  at 
rest." — Tennyson:  "May  Queen." 

SADNESS. 

"  Backward,  roll  backward,  O  time  in  your  flight. 
Make  me  a  child  again,  just  for  to-night." 


"01  have  lost  you  all. 
Parents  and  home  and  friends," 

EXTREME  SURPRISE. 

"  Gone  to  be  married !  Gone  to  swear  a  peace ! 
False  blood  to  false  blood  joined  1     Gone  to  be  friends ! 
Shall  Lewis  have  Blanche,  and  Blanche  these  provinces  ?" 

— Hhakspeare. 


162  PRACTICAL   ELOCUTION. 


"Stay  there,  or  I'll  proclaim  you  to  the  house  and  the  whole 
street!  If  you  try  to  evade  vir,  I'll  stop  you,  if  it's  by  the 
hair,  and  raise  the  very  stones  against  you." — Dickens. 

extrf;me  fear. 
"  To  bed,  to  bed  !     There's  knocking  at  the  gate  !" 

JEALOUSY. 

"  But  one  sly  maiden  spake  aaido— 
The  little  witch  is  evil  eyed  : 
Her  mother  only  killed  a  cow, 
Or  witched  a  churn  or  dairy  pan  : 
But  she,  forsooth,  must  charm  a  man  !" 

—  ]MiUtier :  "  Mabel  Martin.^ 

TRIUMPH. 

"Mark  ye  the  flashing  oara, 
And  the  spears  that  light  the  deep? 
How  the  festal  sunshine  pours 
Where  the  lords  of  battle  sweep  ! 
Each  hath  brought  back  his  shield  : 
Maid,  greet  thy  lover  home  ! 
Mother,  from  that  proud  field, 
lo!  thy  son  is  come." 

affectation. 

"Ha!  ha!  ha!  Wsll,  I  believe  I  do  bear  my  part  with 
\  tolerable  grace." 

HUNGER    AND    SADNESS. 

"  Give  me  three  grains  of  corn,  mother, 
Only  three  grains  of  corn  ; 
'Twill  keep  the  little  life  I  have. 
Till  the  coming  of  the  raorn.* 

SCORN. 

**She  love  I    That  carrion !  And  he  ever  cared  for  her,  she'd 


GESTURE — MISCELLANEOUS  EXERCISES.  163 

tell   me  1     Ha  !    ha  !     The  liars   that  these  traders  are." — 
Dickens. 

TERROR. 

"  Alack  !  I  am  afraid  they  have  awaked, 
And  'tis  not  done  :  the  attempt,  and  not  the  deed, 
Confounds  us  !     Hark  !     I  laid  their  daggers  ready  ; 
He  could  not  miss  them.'' — Shakspeare :  "  Macbeth." 

REVENGE. 

"  And  Qesar's  spirit,  ranging  for  revenge. 
With  Ate  by  his  side,  come  hot  from  hell, 
Shall  in  these  confines  with  a  monarch's  voice, 
Cry  Havoc,  and  let  slip  the  dogs  of  war  !" 

— Shakspeare :  "Julius  CxsarT 

EXULTATION. 

"  Go  ring  the  bells  and  fire  the  guns, 
And  fling  the  starry  banners  out; 
Shout  '  Freedom  !'  till  your  lisping  ones 
Give  back  their  cradle-shout." 

— Whittier, 


MISCELLANEOUS  EXERCISES  IN  GESTURE. 


Oh,  the  gorgeous  city, 

Shining  far  away ! 

Neither  misery  nor  crime, 

Nor  the  wrongs  of  ancient  time, 

Nor  the  kingly  lust  of  sway 

Ever  come  within  its  wall 

To  degrade — or  to  enthrall — 

Oh,  the  glorious  city,  so  beautiful  to  see, — 

But^mce  and  love  and  knowledge 

The  civilizing  three, 

Still  prove  by  good  that  has  been 

The  better  that  may  be. 

—Mackay:  "  The  Golden  City: 


1(54  PRACTICAL  ELOCUTION. 

2.     No  feariiii^,  no  doubting  thy  soldier  shall  know, 

When  here  stands  his  country,  and  yonder  his  foe ; 

One  look  on  the  bright  sun,  one  ))rayer  to  sky, 

One  glance  where  our  banner  waves  glorious  on  high  ; 

Then  on,  as  the  young  lion  bounds  to  his  prey  ; 

Let  the  sword  tlasli  on  high,  fling  the  scabbard  away; 

Roll  on,  like  the  thunderbolt  over  tlie  plain  ; 

We  come  back  in  glory  or  we  come  not  again  ! 


3.  For  all  the  kindreds  and  triV)es  and  tongues  of  men, — 
each  upon  their  own  meridian, — from  the  Arctic  pole  to  the 
equator,  from  the  equator  to  the  Antarctic  pole,  the  eternal 
8un  strikes  twelve  at  noon,  and  the  glorious  constellations,  far 
up  in  the  everlasting  belfries  of  the  skies,  chime  twelve  at 
midnight — twelve  for  the  pale  student  over  bis  tlickering 
lamp — twelve  amid  the  flaming  wonders  of  Orion's  belt,  if  he 
crosses  the  meridian  at  that  fated  houi' — twelve  by  the  weary 
couch  of  languishing  humanity,  twelve  in  the  star  paved 
courts  of  the  Empyrean — twelve  for  the  heaving  tides  of  the 
ocean  ;  twelve  for  the  weaiy  arm  of  labor,  twelve  for  the 
toiling  brain,  twelve  for  the  watching,  waking,  broken  heart ; 
twelve  for  the  meteor  Avhich  blazes  for  a  moment  and 
expires  ;  twelve  for  the  comet  whose  period  is  measured  by 
centuries:  twelve  for  every  substantial,  for  every  imaginary 
thing,  which  exists  in  the  sense  the  intellect,  or  the  fancy, 
and  which  the  speech  or  thought  of  man,  at  the  given  meri- 
dian, refers  to  the  lapse  of  time. 

— Everett ;"  Eternal  Clochvork  of  the  Skies." 


4.     Oh,  with  what  pride  I  used 

To  walk  these  hills,  and  look  up  to  my  God, 
And  bless  him  that  the  land  was  free  !     'T  was  free- 
From  end  to  end,  from  cliff  to  lake,  'twas  free! 
Free  as  our  torrents  are  that  leap  our  rocks. 
And  plow  our  valley's,  without  asking  leave  ' 
Or  as  our  peaks,  that  Avear  their  caps  of  snow 
In  very  jDiesence  of  the  regal  sun ! 

How  happy  was  it  then  ?    I  loved 

Its  very  storms.     Yes,  I  have  sat 

In  my  boat  at  night,  when,  midway  o'er  the  lake. 

The  stars  wi-nt  out,  and  down  the  mountain  gorge 

The  wind  came  roaring.     I  have  sat  and  eyed 

The  thunder  breaking  from  his  cloud,  and  smiled 


GESTURE — IMISCELLANEOUS   EXERCISES.  165 

To  see  him  shake  his  lightnings  o'er  my  head, 
And  think  I  had  no  master  save  his  own  ! 

On  yonder  jutting  cliff,  o'ertaken  there 

By  the  mountain  l>last,  I  've  laid  me  flat  along, 

And  while  gust  followed  gusG  more  furiously, 

As  if  to  sweep  me  o'er  the  horrid  brink, 

And  I  have  thought  of  other  lands,  whose  storms 

Are  summer-flaws  to  those  of  mine,  and  just 

Have  wished  me  there — the  thought  that  mine  was  fre^i 

Has  checked  that  wish,  and  I  have  raised  my  head 

And  cried  in  thraldom  to  that  furious  wind. 

Blow  on ! — this  is  the  land  of  liberty  ! — Knowles. 

5.  Oh  !  listen,  man  ! 

A  voice  within  us  speaks  that  startling  word, 

"  Man,  thou  shalt  never  die !  "  celestial  voices 

Hymn  it  unto  our  souls:  according  harps 

By  angel  fingers  touched,  when  the  mild  stars 

Of  morning  sang  together,  sound  forth  still 

The  song  of  our  great  immortality  ; 

Thick  clustering  orbs,  and  this  our  fair  domain, 

The  tall,  dark  mountains,  and  the  deep-toned  seas. 

Join  in  the  solemn,  universal  song. 

Oh  !  listen  ye,  our  spirits  :  drink  it  m 

From  all  the  air.     'Tis  in  the  gentle  moonlight; 

'Tis  floating  midst  Day's  setting  glories !     Night, 

Wrapped  in  her  sable  robe,  Avith  silent  step 

Comes  to  our  bed,  and  breathes  it  in  our  ears  : 

Night,  and  the  dawn,  bright  day,  and  thoughtful  eve, 

All  time,  all  bounds,  the  limitless  expanse. 

As  one  vast  mystic  instrument,  are  touched 

By  an  unseen,  living  Hand  :  and  conscious  chords 

Quiver  with  joy  in  this  great  jubilee. 

Dana :  Immortality. 

6.  While  the  union  lasts  wehave  high,  exciting,  gratifying 
prospects  spread  out  before  u-!,  for  us  and  our  children. 
Bej'ond  that  I  seek  not  to  penetrate  the  veil.  God  grant 
that  in  my  day,  at  leiist,  that  curtain  may  not  rise.  God 
grant  that  on  my  vision  never  mny  be  opened  what  lies  be- 
hind. When  my  eyes  shall  be  turned  to  behold,  for  the  last 
time,  the  Sim  in  heaven,  may  I  not  see  hiiri  shining  on  the 
broken  and  dishonored  fragments  of  a  once  glorious  union  ; 
on  states  dissevered,  discordant,  belligerent;  on  a  land  rent 


166  PRACTICAL  ELOCUTION. 

uith  civil  fcHids,  or  dronchc,Hl,  it  may  he,  in  fraternal  blood! 
Lot  their  last  fecl>lc  and  lni<;oring  glance,  rather,  hohold  the 
porgeons  ensign  of  the  r('j)ul)lii',  now  known  and  lionored 
thronghont  the  earth,  still  fnll  high  advanced,  its  arms  and 
truj)hics  streaming  in  tlieir  original  Inster, not  a  stri])e  erased 
or  jjolluted,  nor  a  single  star  ohscnred,  bearing  for  its  motto 
no  snch  miserable  interrogatory  as — What  is  all  this  worth? 
K'>r  those  other  words  of  delnsion  and  folly — Liberty  first 
and  union  afterward;  l)ut  everywhere  spread  all  over  in 
characters  of  living  light,  l)lazing  on  all  its  ample  folds,  as  they 
float  over  the  sea  '^nd  over  the  land,  in  every  wind  under  the 
whole  heavens,  that  other  sentiment,  dear  to  every  true 
American  heart—  Liberty  and  iniion,  now  and  forever,  one 
and  insej>ai'able  !— irt'66/r;- ;  Libert y  and  Union. 

7.  CHAE.<^'E  OF  THE  LIGHT  BRIGADE. 

/  • 

rtalf  a  league,  half  a  league, 

Half  a  league  onward, 
All  in  the  valley  of  death 

Eode  the  six  hundred. 
"  Forward,  the  Light  Brigade! 
Charge  for  the  gvuis  !  "  he  said : 
Into  the  vallej'  of  Death 

Rode  the  six  Imndred. 

-  .  •* Forward,  the  Light  Brigade!" 

Was  there  a  man  dismayed? 
Not  though  tlie  soldiers  knew 

Some  one  had  blundered  I 
Theirs  not  to  make  reply  ; 
Theirs  not  to  reason  why; 
Theirs  but  to  do  and  die : 
Into  the  valley  of  Death 

Rude  the  sixriiundred. 

Cannon  to  ri,<jrht  of  them, 
Cannon  to  Icil  of  them. 
Cannon  in  front  of  them 

Volleyed  and  thundered: 
Stormed  at  with  shot  and  shell. 
Boldly  they  rode  and  well; 
Into  the  jaws  of  Death, 
'  Into  the  mouth  of  Hell, 

Rode  the  six  liundred. 


GESTURE— MlSCELLAi^fiOUS  EXERCISES.  167 

Flashed  all  their  sabers  bare, 
Flashed  as  the}'  turned  in  air, 
Sab'ring  the  gunners  there, 
Charging  an  army,  while 

All  the  world  wondered!  , 

Plunged  in  the  battery  smoke, 
Eight  through  the  line  they  broke  : 
Cossack  and  Russian 
Reeled  from  the  saber-stroke. 

Shattered  and  sundered. 
Then  they  rode  back  ;  but  not — 

Not  the  six  hundred. 

Cannon  to  right  of  them. 
Cannon  to  left  of  them, 
Cannon  behind  the)n 

Volleyed  and  thundered  ; 
Stormed  at  with  shot  and  shell, 
While  horse  and  hero  fell, 
They  that  had  fought  so  well 
Came  through  the  jaws  of  Death, 
Back  from  the  moulh  of  Hell, 
All  that  was  left  of  them — 

Left  of  six  hundred. 

When  can  their  glory  fade?  , 

O  the  wild  charge  they  made  ! 

All  the  world  wondered.  ^, 

Honor  the  charge  they  made  !  * 

Honor  the  Light  Brigade, — 

Noble  six  hundred  ! — Tennyson, 

8. 

"  0,  where  is  the  knight  or  the  squire  so  bold 
As  to  dive  to  the  howling  charybdis  below? — 
I  cast  in  the  whirlpool  a  goblet  of  gold, 
And  o'er  it  already  the  dark  waters  flow  ; 
Whoever  to  me  may  the  goblet  bring 
Shall  have  for  his  guerdon  that  gift  of  his  king." 

/ 
He  spake,  and  the  ciip  from  the  terrible  steep  ' 

That,  rug;j:ed  and  hoary,  hung  over  the  verge 
Of  the  endless  and  measureless  woild  of  the  deep. 
Swirled  into  the  maelstrom  that  maddened  the  surge. 

"  And  wbere  is  the  diver  so  stout  to  go — 
I  ask  ye  again — to  the  deep  below  ?" 


t68  PKACriCAL  KLOCUTIOX. 

And  the  knights  and  (he  squires  that  gathered  around, 
Stood  silent,  and  thvod  on  the  ocean  their  eyc.«  ; 
They  looked  on  the  dismal  and  savage  prolound. 
And  the  j)eril  chilled  l>ack  every  thought  of  the  prize. 
And  thrice  spake  the  monairh, — "The  cup  to  win, 
Is  there  never  a  wight  who  will  venture  in  ?" 

And  all  as  before  hoard  in  silence  the  king, 

Till  a  youth  with  an  aspect  unfearing,  but  gentle, 

'Mid  the  tremulous  squires,  ste]>ped  out  from  the  ring, 

Unbuckling  his  girdle,  and  doffing  his  mantle; 

And  the  murnniring  crowd  as  thej^  parted  asunder, 

On  the  stately  boy  cast  their  looks  of  wonder. 

As  he  strode  to  the  marge  of  the  summit,  and  gave 

One  glance  on  the  gulf  of  that  merciless  main. 
****  *  *  ** 

The  youth  gave  his  trust  to  his  Maker!     Before 

That  path  through  the  riven  abyss  closed  again — 

Hark  !  a  shriek  from  the  crowd  rang  aloft  from  the  shore, 

And,  behold!  he  is  whirled  in  the  grasp  of  the  main  ! 

And  o'er  him  the  breakers  mysteriously  rolled, 

And  the  giant  mouth  closed  o'er  the  swimmer  bold. 

—Schiller :  "  The  Diver." 


GENERAL  SUGGESTIONS. 

In  Transition,  or  in  passing  from  one  gesture  to  another, 
the  hand  should  not  be  dropped  at  the  side,  but  allowed  to 
})a.«s  by  graceful  movement  from  one  point  to  the  other, 

\Vhen  Climax  is  required,  strengthen  each  word,  phrase,  or 
aosertion,  over  the  preceding  one,  by  a  stronger  gesture,  and 
in  a  manner  and  direction  as  may  be  indicated  by  the 
character  of  the  discourse. 

Study  nature  for  attitude  and  action  as  well  as  for  speech. 
Tlie  most  noted  readers  and  speakers  often  furnish  worthy 
examples.  Benefit  in  this  regard  may  also  be  derived  from 
observation  of  characters  in  sculpture  and  painting. 


GESTURE — MISCRLLANEOUS   EXERCISES.  169 

Study  Repose  of  manner:  there  is  repose  of  action  as  well 
as  of  inaction  ;  it  is  the  sign  of  mastery.  It  is  the  most 
unfailing  test  of  beauty  whether  of  matter  or  of  motion. 


CAUTIONS  TO  BE  OBSERVED. 

1.  Avoid  fiilse  gestures. 

2.  Avoid  crude  and  ungraceful  gestures,  except  in  the  oc- 
oasional  sentiment  which  may  require  it. 

3.  Do  not  use  the  whole  body  when  the  action  of  only 
one  of  its  members  is  required. 

4.  Avoid  meaningless  gestures  ;  let  every  movement  have 
a  purpose. 

5.  Avoid  excess  in  gesture;  too  few  are  better  than 
loo  many. 

6.  Never  shock  the  sensibilities  of  an  audience  by  too 
coarse  an  imitation. 

The  objects  to  be  attained  in  Gesture,  are  ease  and  appro- 
priateness of  manner.  These  objects  are  usually  only  at- 
tained through  time  and  patient  toil.  The  student  should 
thoroughly  comprehend  the  Principles,  so  that  in  the  ap- 
plication of  the  same  he  may  be  entirely  unconscious  of 
their  existence.  Unconsciousness  will  lead  to  ease,  correct- 
ness and  variety  of  movement ;  it  will  also  be  found  that  as 
tbe  soul  is  stirred  by  thought  and  feeling  from  within,  or  by 
circumstances  from  without.  Gesture  will  difl'er  at  different 
times  upon  the  same  assertions,  and  yet  at  each  time  be 
equally  appropriate  or  correct. 

In  the  adaptation  of  Gesture  to  Speech  the  student  should 
study  to  establish  the  most  perfect  harmony — otherwise  the 
effect  is  to  a  great  degree  lost,  and  at  no  time  should  he  lose 
sight  of  the  fact  that  the  former  is  a  helper  rather  than  an 
exponent  of  the  latter. 


170  PRACTICAL  ELOCUTIOW. 


METHODS  OF  INSTRUCTION. 


In  addition  to  the  author's  experience  of  twenty  years  as  an  instructor,  during 
■which  period  he  has  enjoyed  the  advantage  of  rare  and  varied  opportunities  for 
appreciating  the  wants  of  the  teacher,  it  has  been  his  privilege  to  meat  thou, 
sands  of  teachers  in  professional  relations.  These  contacts,  and  the  ohservations 
they  have  afforded,  have  led  to  much  thought  and  to  a  profound  appreciation  of 
the  teacher's  needs  in  the  direction  of  his  special  department. 

Next  to  the  desire  of  a  broad  and  intelligput  compreliension  of  the  subject, 
which  he  has  made  a  lifelong  study,  he  entertains  no  stronger  desire  than  thai 
he  may  stimulate  and  help  the  teacher  in  his  work.  No  other  instruction 
within  the  province  of  our  educational  system  possesses  an  equal  degree  of 
practical  importance  with  that  of  natural,  chaste  and  effective  speech.  It 
relates  to  the  whole  man,  physical,  mental  and  moral.  It  relates  to  every 
man  of  the  whole  race.  It  relates  to  every  grade  and  occupation.  It  relates  to 
the  every-day  life  of  every  man  of  every  grade  and  every  occupation. 

To  treat  the  subject  of  Methods  worthily,  would  require  a  volume.  In  the 
absence  of  time  and  space  to  give  it  such  consideration  as  it  deserves,  there  Iia" 
been  the  temptation  to  ignore  it  altogether.  It  is  toVje  honed  thit  we  have  deter, 
mined  more  wisely  In  ofiV>ring  what  is  now  before  the  student  under  the  tw<» 
general  divisions,  Theory  of  Teaching  and  Outline  of  Methods. 


THEORY  OF  TEACHING. 


The  first  thought  of  a  wise  master  builder  for  those  who 
go  down  to  the  sea  in  ships,  is  safety  of  passage.  One  m.otive 
governs  all  other  considerations:  she  shall  reach  her  desti- 
nation and  deliver  safely  all  that  has  been  committed  to  her. 

KoTE— The  Theory  of  Teaching  here  present' d  is  from  the  author's  pi.pcr 
rpad  before  tl'e  Pennsylvania  State  Teachers'  Association  with  only  such 
fhange  as  has  Viern  deemed  necessary  to  its  adaptat-on  here,  and  to  the  demaa>i 
for  a  luoro  comprehensive  treatment. 


Methods  oF  instruction.  171 

Hiongh  her  sails  be  of  fine  linen  and  her  timber  of  the 
goodly  cedar,  and  she  be  laden  with  the  gold  of  Ophir  or 
with  the  most  precious  stones,  if  her  timbers  yield  to  the  bil. 
lou's,  and  her  wealth  be  lost  in  the  deep,  all  is  lost,  and  her 
greatness  remains  only  in  the  greatness  of  that  loss.  The 
magnificence  of  her  stores  only  adds  to  the  fearful  responsi^- 
bility  of  him  who  sent  her  upon  the  waves  thus  unworthy. 

While  the  educator  is  rearing  the  structure  of  the  mind 
and  freighting  ic  with  merchandise,  he  should  remember 
that  his  work  does  not  culminate  with  a  sublime  structure 
and  an  abundant  cargo.  It  lies  beyond  that.  He  is  not 
great  whose  mind  is  merely  a  great  receptacle,  though  it  be 
filled  to  the  brim.  That  is  the  vessel  of  honor  which  bears 
successfully  from  port  to  port  all  that  has  been  committed 
to  it,  and  he  has  built  well  who  has  meted  out  such  strength 
and  pace.  He  is  the  educated  man,  who,  freighted  with 
wise  and  noble  thoughts,  bears  them  successfully  to  their 
proper  destination.  It  is  the  application  of  knowledge,  not 
the  possession  of  it,  which  constitutes  the  true  end  of  educa- 
tion. The  end  of  life  is  in  giving,  not  in  receiving.  A  man 
is  estimated  not  for  what  the  world  eives  to  him,  but  for  what 
he  gives  to  the  world.  Our  subject  has  to  do  with  one  great 
medium  for  the  application  of  knowledge.  Very  much  of 
our  education,  to  be  available,  must  be  handled,  exchanged, 
conveyed  to  its  proper  port.  Like  the  vessel  and  its  mer- 
chandise, it  is  valuable  only  at  its  destination.  Along  with 
knowledge,  therefore,  and  m  proportion  to  it,  comes  the  de- 
mand for  its  proper  conveyance  and  application. 

We  are  by  no  means  disposed  to  ignore  the  fact  that  much 
hiis  been  achieved  by  the  silent  use  of  knowledge.  Some  of 
the  richest  fruits  of  philosophy,  science  and  the  arts,  have 
been  given  to  the  world  by  men  and  women  the  most  reti- 
cent and  non-communicative.  Through  philosophy,  inven- 
tion alone  has  given  untold  stimulus  to  civilization  and 
religion,  and  advanced  the  world  a  thousand  years.  Science 
vies  with  R(n'elati()n  in  proclaiming  the  wonderful  works  of 
God.    The  arts  are   quietly  lifting  the  race  into   a  higher 


172  PRACTICAL  KLOCUnOK. 

range  of  thought  aii([  fooling.  They  are  h:ii)d-uiai<l.-i  of  phi- 
lanthropy and  civilization,  breathing  "peace  on  eartn  and 
good  will  to  men."  But  it  has  been  reserved  ror  tne  human 
voice  to  mould  and  modify  every  phase  and  vicissitude  of 
human  life.  Whether  science  or  art,  the  family  or  the 
nation,  thajCliurch  or  State,  politics  or  theology,  philosophy 
or  religion,  its  iiilluonce  is  felt  in  all.  Tlie  human  voice  is 
the  groat  medium  for  the  conveyance  of  thought  and  feeling, 
the  outlet  and  passage-way  of  the  soul,  the  divine  current 
which  allies  man  to  his  fellow.  It  is  the  medium  by  which 
knowledge  is  made  universal ;  a  canvas  upon  which  we  may 
throw  thought  and  feeling  that  others  maj'-  see  and  read. 
Soul  is  here  brought  to  the  surface,  made  tangible  and 
portable. 

But  to  do  this  there  is  needed  an  instrument,  skilled, 
accomplished,  disciplined.  It  must  not  be  supposed  that  the 
Creator  has  here  made  exception  to  the  common  law  of 
development.  Here,  as  in  every  other  element  of  our  being, 
it  is  "  first  the  blade,  then  the  ear,  then  the  full  corn  in  the 
ear."  It  is  the  common  order  :  germ,  form,  fruit.  And  the 
common  process  :  culture,  protection,  exen^se. 

In  the  treatment  of  the  subject,  we  sliall  consider  the  im- 
portance of  vocal  culture  from  the  teacher's  standpoint ;  cer- 
tain common,  existing  faults  of  instruction  ;  and  such  simple 
methods  as  may  be  presented  without  illustration. 

1.  Importance. — The  importance  of  a  higli  cultivation  of 
the  voice  is  abundantly  apparent  to  us.  But  it  is  not  enough 
that  a  teacher  be  himself  informed  upon  his  suliject;  he 
must  be  able  to  inform  others.  It  is  not  enough  that  he  be 
full  himself;  he  must  fill  others.  How  shall  we  present  the 
practical  bearings  of  this  subject  upon  our  scholars,  so  that 
they  may  be  stimulated  to  their  share  of  the  work?  Stand- 
ing, therefore,  in  the  teacher's  stead  for  a  few  minutes,  let  us 
consider  the  relations  of  this  subject  to  a  generation  now  in 
our  hands  as  clay  in  the  hands  of  the  potter. 

Education  in  any  department  is  important  in  proportion 
na  it  gives  a  healthy  development  of  strength  and  influence. 


METHODS  OF  INSTRUCTION.  173 

Whether  considered  with  reference  to  self  or  the  race,  the 
voice  has  the  highest  claims  upon  our  attention.  As  a 
physical  facalty,  tiie  exercise  of  the  human  voice  concerns 
iclf.  A  correct,  easy  utterance  demands  a  natural  position 
of  the  body.  Proper  position  conduces  to  symmetry  of 
form,  which  means  a  healthy  development  of  all  the  physical 
powers.  It  is  a  protection  to  the  throat,  giving  to  it  mrscu- 
hir  strength  and  vigor.  It  promotes  proper  habits  of  breath- 
ing, and  calls  into  play  many  of  the  most  vital  organs  of  the 
human  body.  Properly  directed,  it  becomes  a  most  practical 
source  of  health  and  grace  to  the  whole  being. 

Natural  and  healthful  exercise  is  a  condition  of  growth 
and  develoiiment  as  absolute  as  air  or  food.  It  applies  to 
our  whole  triune  nature.  I  gain  strength  for  to-moriow  by 
what  I  have  done  to-day.  The  mind  expands  by  its  exer- 
tions. The  heart  that  cherishes  the  affections  of  today, 
burns  with  a  brighter  and  warmer  benevolence  to-morrow. 
The  physical  jjower,  therefore,  which  calls  into  action  the 
greatest  aggregate  amount  of  physical  force,  demands  in 
proportion  our  attention  and  proper  direction.  We  need 
only  call  to  mind  that  the  throat  and  lungs,  the  organs  of 
respiration,  the  air  we  breatlie  and  the  manner  of  breathing 
it,  the  proper  adjustment  of  all  the  parts  of  the  body,  posi- 
tion, dress,  and  digestion  itself,  are  so  related  to  a  proper 
exercise  of  the  voice  as  to  receive  the  utmost  adv;i:itage 
from  it. 

Next  to  its  uses  for  the  sake  of  self,  comes  its  hearing  upon 
the  family,  and  those  most  nearly  allied  to  us,  constituting 
what  is  known  as  tie /SociaZ  Circ/e.  Here  begins  the  media- 
torial office  of  the  voioe.  It  becomes  here  the  current  of 
revelation  from  the  within  to  the  without ;  and  its  power 
over  the  thoughts  and  affections  which  it  bears  from  us, 
though  not  susceptible  of  measurement,  must  be  regarded  of 
vast  importance.  By  it,  human  weakness  may  be  brouglitto 
the  surface,  and  set  as  a  target  for  the  finger  of  ridicule ;  or 
it  may  be  covered  and  hidden  from  view.  Culture  of  mind 
and  the  purest  affection  which  the  heait  can  give  forth,  may 


174  PkACtlCAt,  ELOCUTlOk. 

come  to  the  surface,  coarse  and  almost  vulgar;  or  fresh,  vig^ 
orous  and  pure  as  the  fountain  whence  they  issue. 

The  voice  may  be  taught  to  reflect  upon  every  relation  of 
life.  The  business  man  lays  his  voice  by  the  side  of  his  wares, 
and  the  eye  of  the  purchaser  harmonizes  with  the  ear  in  its 
judgment.  The  ear  hears  a  sound  harsh  and  uncomely  ;  the 
eye  pronounces  the  cloth  coarse  and  wanting  in  polish.  The 
ear  heai-s  a  voice  apologetic  and  shrinking ;  the  eye  pro- 
nounces the  coffee  of  questionable  quality,  and  the  sugar 
adulterated.  The  ear  hears  a  voice,  firm,  i)ure  and  confi- 
dent ;  the  eye  sees  a  fabric  of  unusual  firmness  and  dura- 
bility. We  do  not  pronounce  tliis  principle  of  absolute 
force,  but  of  such  general  bearing  as  to  give  it  tVie  highest 
importance. 

The  public  man  presents  himself  first  to  the  eye  and  the 
ear  of  his  audience.  His  words  approach  the  judgment  with 
recommendations  from  these  senses,  favorable  or  unfiivorable. 
If  favorable,  he  sustains  to  the  audience  the  position  of  a 
stranger  who  approaches  you  with  a  strong  letter  from  j'our 
friend.  You  are  thrown  on  his  side,  and  prefer  to  help  him 
if  you  can.  So  the  judgment  of  the  audience  is  thrown  in 
the  speaker's  favor;  it  prefers  to  accept  his  words.  If  unfa- 
vorable, he  sustains  the  relation  of  him  whose  approacii  to 
you  has  been  preceded  by  unfair  reflections  upon  his  char- 
acter. He  finds  a  barrier  in  the  way  of  his  access  to  you. 
The  voice  is  in  many  instances  a  barrier  in  the  way  of  a 
speaker's  access  to  the  mind  and  heart, weakening  and  modi- 
fying the  words,  sometimes  to  such  a  degree  that  they  are 
utterly  lost.  The  voice  is  often  so  at  variance  with  the  senti- 
ment, as  to  convey  a  meaning  almost  in  contrast  with  the 
purpose  of  the  speaker.  But  we  dare  not  dwell.  It  maj'  be 
readily  shown  in  all  relations,  First,  that  the  voice  should 
satisfy,  and,  if  it  be  possible,  gratify  the  ear.  Second,  that  it 
should  sustain  and  strengthen  the  sentiment.  Third,  that  it 
should  vary  in  harmony  with  the  sentiment. 

The  culture  of  the  voice  should  be  tiught  as  a  matter  of 
cleanliness.  A  sluggish,  slovenly  tone  is  as  filthy  as  an  un- 
combed head,  or  a  collar  ten  days  worn.   It  should  be  taught 


METHODS   OF   INSTRUCTION.  l?^ 

Rs  a  matter  of  courtesy.  You  owe  it  to  your  neighbor  to  give 
Inm  a  pure  tone  as  much  as  the  tip  of  the  hat  or  the  morn- 
ing sakitation.  It  should  be  taught  as  an  element  of  happi- 
ness. Our  highest  happiness  is  reflex.  It  is  that  which 
lomes  back  to  us  from  the  joy  we  have  given  to  others.  No 
other  agency  within  the  compass  of  our  natural  power  is  so 
a-laptcd  to  the  communication  of  happiness  to  others  as  the 
human  voice.  It  should  be  taught  as  an  agency  of  moral 
culture.  A  voice  of  dignity  and  elegance  will  attract  to  purity 
and  truth,  to  virtue  and  religion.  Correct  sounds  should  be 
taught  as  a  preservation  of  the  language.  Sounds  errone- 
ously pronounced  during  school  dayj  will  so  develop  the 
organs  in  that  direction  as  to  be  corrected  with  difiiculty. 
The  hal)it  will  often  prejudice  the  ear  against  that  which  is 
correct. 

Faults. — In  considering  the  faults  most  common  in  our 
education  of  the  voice,  I  call  attention  first  to  the  wide- 
spread habit  of  forcing  loud  and  boisterous  tones,  rather 
than  intelligent  responses.  There  is  a  tendency  on  the  i)art 
of  teachers  to  obtain  sound  without  much  reference  to  sense,. 
Very  often,  too,  it  is  obtained  at  the  expense  of  every  natu- 
ral use  of  the  organs,  rendering  the  voice  harsh  and  discord- 
ant, and  physically  weakened.  It  has  its  worst  phase  in  the 
harsh,  fierce  utterance  of  the  letters  of  the  alphabet,  and  in 
spelling  and  early  reading  lessons.  The  child  should  be 
taught  to  give  the  name  of  the  first  letter  of  the  alphabet, 
and  every  letter  intelligently,  as  it  would  to  give  the  name  of 
any  one  object  in  the  room,  whole,  complete,  with  firm,  pure, 
voice,  and  nothing  more.  A  greater  fault  consists  in  the 
almost  total  want  of  attention  to  the  voices  of  pupils  outside 
of  the  few  minutes  devoted  to  the  reading  classes  proper. 
Though  the  pupil  may  be  in  only  one  reading  class,  every 
class  should  be  a  voice  class  in  which  the  voice  is  used.  It  ia 
Worse  than  absurd  to  expect  any  satisfactory  results  in  the 
culture  of  ihe  voice  while  it  is  used  properly  in  one  recitation 
and  improperly  in  j'tve.  If  there  is  anything  in  practice,  then 
the  fmilts  of  the  voice  must  have  greatly  the  advantage. 

Again,  the  body  of  sound  is  rarely  correct.  The  a,  e,  i,  o,  u, 


176  PRACTICAL  ELOCUTION. 

»f  speech  is  neglected.  The  organs  are  not  properly  set,  and 
t)  consoquence  there  is  not  obtained  that  resonance  and  flexi- 
Aiiity  of  which  ahnot't  every  voice  is  capable.  Head  tones, 
iii<)Uth  tones,  and  throat  tones  are  left  uncorrected,  and  with 
every  repetition,  arc  more  strongly  fixed  in  the  habit  of  the 
student. 

Then,  there  is  great  neglect  of  the  true  source  of  vocal 
strength.  Few  students  in  our  public  schools  ever  learn  to 
command  the  lower  part  of  the  lungs  and  the  ahdominal 
Tuuscles  during  utterance,  and  in  consequence  always  use  the 
voice  to  disadvantage.  The  lower  muscles  of  the  body  con- 
stitute the  fulcrum  power  of  the  voice,  and  to  speak  without 
usirig  them  is  like  lifting  a  heavy  weight  from  an  minatural 
position.  Strength  is  wasted.  Thousands  arc  constantly 
exhausting  pliysical  foree  in  speech  which  might  be  saved  if 
the  pro2)er  organs  were  brought  into  play.  Had  we  time  we 
could  adduce  a  number  of  instances  of  persons  whose  speech 
had  become  painful  and  burdensome,  who  so  changed  the 
location  of  the  tone  in  a  few  days'  time  as  to  speak  with 
entire  ease. 

In  Articulation  there  is  almost  a  universal  tendency  to  a 
sluggish  and  unfinished  utterance  of  the  sounds  in  a  word. 
This  fault  has  various  forms,  sometimes  pervading  the  whole 
sentence,  sometimes  affecting  only  those  words  in  which  the 
lil^s  or  teeth  have  a  prominent  part  to  perform,  and  very 
often  dropping  the  last  sound  of  the  word.  A  distinct 
enunciation  reflects  culture  and  education  upon  tlie  speaker 
and  shows  such  a  respect  for  his  words,  on  his  own  part,  as 
will  command  the  respect  of  the  listener.  Many  of  the 
pounds  of  the  language  are  commonly  pronounced  incor' 
rrcthj.  Almost  every  community  has  perverted  some  of  the 
sounds  to  such  a  degree  that  they  have  entered  into  the 
common  language  of  the  community  and  become  provincial. 
Tlie  teacher  is  the  guardian  of  the  tongue  he  speaks,  and 
should  conscientiously  jimtect  it  from  innovation  upon  the 
authorized  sounds  which  compose  the  language. 

The  faults   of   Expression  in   the  average  American    are 


METHODS  OF  INSTRUCTION.  177 

indeed  "  too  numerous  to  mention."  There  is  nionotor-y  of 
expression,  and  excess  of  expression.  There  is  the  formal, 
stilted,  uniform  rate,  and  the  loose,  reckless,  hasty  speech. 
There  is  tlie  pious  style  of  drawl  and  downward  slide,  and 
there  is  the  coarse,  abrupt  and  dogged  style.  Against  all  of 
these  we  may  reverently  use  the  language  of  the  prayer- 
book,  and  ask  to  be  delivered. 

A  healthy  child  will  usually  be  found  to  possess,  in  a  very 
high  degree,  the  elements  of  varied  and  appropriate  ex- 
pression. It  will  use  the  high  and  the  low,  the  loud  and  the 
soft,  the  fast  and  the  slow,  with  wonderful  faithfulness  to  the 
meaning  and  would  very  often  require  little  but  protection, 
but  too  often  the  example  of  the  playmate  and  the  parent 
and  the  misdirection  of  the  teacher  are  sufficient,  within  very 
early  years,  to  supplant  natural  simplicity  of  expression  and 
establish  in  ita  place  painfully  unnatural  habits. 

In  Gesture,  the  fiiults  opposition  and  movement,  like  those  of 
expression,  are  usually  acquired  through  example  and  mis- 
direction. The  child  of  six,  compelled  to  sit  on  a  square 
foot  of  territory  six  hours  in  the  day,  will  break  down  under 
the  unnatural  oppression  and  the  form  will  droop.  The  boj' 
that  is  required  to  "stand  erect  "  only  on  Friday  afternoon, 
when  he  "speaks  his  piece,"  will  absorb  the  idea  of  a 
mechanical  uprightness  for  the  speaking  occasion,  and  that 
some  such  preparation  is  necessary  every  time  he  makes  his 
speech ;  and  we  accordingly  find  in  the  pulpit  and  at  the  bar 
more  uprightness  than  grace.  The  healthy  little  child,  as  a 
rule,  is  graceful  and  appropriate  in  its  movements.  The 
larger  child  has  rounded  shoulders  and  drags  his  feet  a  little. 
The  largest  child  droops  in  body,  walks  with  bowed  legs  and 
carries  his  head  at  an  unnatural  poise,  and  the  man  and 
woman  are  the  natural  result  of  the  years  of  such  training. 

3.  Remedy. — The  remedy  for  many  of  the  faults  so  common 
in  speech  lies  within  the  reach  of  almost  every  teacher.  No 
instrument  was  ever  committed  to  human  care  and  manage- 
meni,  capable  of  such  delicate  variety  and  harmony  as  tno 
voice  of  the  average  child.    Pure  as   the  morning  breeze, 


17S  rRACTICAT.   ELOCUTION. 

eporting  as  the  winged  songster,  versatile  as  the  mountain 
stream,  is  the  prattle  of  happy  childhood.  Nature  has 
shown  herself  more  lavish  in  the  ins<n<i>u7iY  of  communica- 
tion than  in  the  knoivledge  to  be  communicated.  The  CJod- 
given  voice  is  greatly  superior  to  tlie  God-given  knowledge. 
Tlie  natural  suggestion  is,  that  the  culture  of  the  voice  should 
he  assigned  its  projier  place  in  the  van  of  all  higher  culture. 
The  fact  is,  they  are  educated  inversely.  I*ro(!esses  of  devel- 
opment are  applied  to  the  mind  tending  to  natural  and  vig- 
orous growth.  A  lifetime  is  devoted  to  storing  in  knowledge, 
while  the  great  channel  of  communication  is  almost  entirely 
neglected.  The  voice  is  left  to  itself;  and,  in  one,  is  dwarfed 
for  want  of  the  necessary  attention  and  ndurishment;  in 
anotlier,  for  want  of  proper  pruning  and  direction,  is  allowed 
to  run  into  the  most  unnatural  vagaries. 

We  submit,  there  should  be  early  attention  given  to  the 
habits  of  voice  in  the  child.  The  voice  in  recitation  should 
not  he  diverted  from  the  simplest  and  purest  tones  of  ita 
ordinary  use.  When  false  tendencies  are  discovered,  they 
should  be  promptly  corrected,  whether  on  the  play-ground, 
in  the  morning  salutation,  or  in  the  grammar  recitation,  as 
well  as  in  the  reading  class.  The  current  of  tone  should  be 
kept  in  the  proper  channel,  and  the  stimulants  of  cleanliness, 
courtesy,  business  and  morality,  to  which  reference  has 
already  been  made,  applied  in  due  proportion  and  with  due 
caution.  A  faculty  of  such  constant  exercise,  it  is  eminently 
important  that  the  most  careful  attention  be  given  to  the 
habit  of  voice  in  the  practice  of  the  child. 

I  am  told  that  so  little  attention  has  been  given  to  this 
subject  in  the  education  of  the  teacher,  that  he  is  unprepared 
to  criticise  the  voice  of  the  pupil. 

While  admitting  the  force  of  the  difficulty,  yet  were  he 
ordinarily  to  apply  the  principle  of  correcting  bad  habits  as 
far  as  he  knows,  we  believe  great  good  would  be  done,  and 
he  would  be  led  to  the  discovery  of  much  that  is  unknown. 

In  addition  to  this  direction  and  correction  of  the  voice, 
pleasing  and  varied  exercises  should  be  mingled  with  tht 


METHODS  OF  INSTRUCTION.  179 

reading  exercises,  such  as  the  ear  will  enjoy.  The  ear  shon'd 
be  led  as  rapidly  as  possible  to  enjoy  sounds.  It  will  thus 
soon  discriminate  between  what  it  likes  and  what  it  dislikes, 
and  this  accomjjlished,  the  point  of  a  higher  and  closer  dis- 
crimination is  not  far  distant.  The  teacher  should  aim  to 
secure  in  the  pupil  the  criticism  of  his  own  ear.  A  most 
important  work  is  done  when  this  is  attained.  Every  indica- 
tion in  this  direction  should  be  encouraged  hy  the  teacher. 
When  the  flat,  high,  hard,  harsh  or  excessive  nasal  tones  are 
observed  by  the  pupil,  and  hurt  as  they  fall  upon  the  ear,  the 
teacher's  work  is  largely  done.  The  student  is  then  put  under 
a  critic  more  faithful  and  constant  than  the  teacher  can  pos- 
sibly be  to  him. 

Nothing  can  take  the  place  of  judicious  exercise  of  the 
elementary  sounds  in  early  practice.  The  drill  on  these, 
carefully  varied,  should  form  a  daily  exercise  in  our  primary 
schools.  The  greate.st  care  should  be  taken  in  all  these  ex- 
ercises to  develop  chriit  tones,  versus  head,  throat,  or  mouth 
tones.  I  shall  suggest  a  single  additioral  element  m  the  cul- 
ture of  the  voice.  The  teacher  cannot  impress  the  value  of 
proper  breathing  with  too  much  emphasis.  Deep,  full  breath- 
ing should  be  urged  as  a  habit,  not  merely  as  an  exercise. 
Every  muscle  and  organ  within  the  whole  range  of  the  re- 
spiratory system  should  act  with  eaoh  successive  breath. 
The  intercostal  muscles  are  very  largely  dependent  upon 
breathing  for  their  exercise.  By  it,  the  lungs  are  rendered 
cai^acious  and  flexible,  the  muscles  of  the  sides  and  back  are 
strengthened,  the  whf)le  body  has  added  forjii  a^id  comeli- 
ness, and  the  voice  obtains  a  strength  and  resonance  which 
it  can  have  from  no  other  source. 

A  new  era  is  dawning  in  the  history  of  education  with 
reference  to  human  speech.  In  our  haste  after  principles 
we  have  overlooked  the  fact,  that  culture  as  well  as  know- 
ledge must  supplement  nature.  In  the  palmy  days  of  oratory, 
and  in  the  age  of  its  masters,  the  culture  of  the  voice  was 
held  of  fiist  importance.  We  believe  that  within  the  possi- 
bilitiws  of  this  wonderful  instrument,  there  may  be  found  a 


180 


PRACTICAL  ELOCUnoy. 


response  to  every  sentiment  of  the  mind  and  every  emotion 
of  the  heart.  And  it  is  not  an  idle  hope  that  in  proportion 
as  the  mind  of  man  expands  to  a  wider  range,  and  the 
hnman  lieart  glows  in  a  higher  henevolence,  and  human 
nature  is  absolved  from  sin,  the  voice  may  be  first  to  refiecL 
the  Divine  image,  in  tones  such  au  make  up  the  melody  of 
Heaven. 


OUTL//\/E  OF  METHODS. 


Primary  Instruction. 


(  Idea. 
Word. 


f  Idea  word. 


Other  words. 


Sound. 

Letter. 

TLeadiko. 


Suggestion  to  the  Teacher. — While  it  ia  believed  that  a  somewhat  definite 
order  of  outline  will  best  represent  to  the  teacher  tlie  important  principles  in- 
volved in  Primary  Instruction,  yet  It  is  by  no  means  supposed  that  he  will 
follow,  slavishly,  the  explanation  of  the  several  steps  here  given. 


The  teacher  should  have  in  mind  some  simple  sentence, 
for  example,  "It  is  my  hat."  Presuming  that  the  pupils 
know  nothing  of  the  letters  or  words,  the  task  before  him  is 
to  teach  them  the  thought  of  the  sentence,  the  four  words,  the 
seven  different  letters  and  the  seven  sounds  which  compose 
tlie  sentence,  and  to  enal)le  them  to  express  the  thought 
naturally,  uoon  sight.    The  latter  is  preeminently  the  end  to 


METHODS  OF  INSTRUCTIOIT.  181 

be  attained,  and  the  steps  leading  to  it  should  be  so  con- 
ducted as  will  best  accomplish  this  end. 

Idea. — The  teacher  may  introduce  the  object  hat  to  his 
class,  and  conduct  an  object  lesson.  It  will  aid  in  impressing 
the  appearance  of  the  word  when  it  is  presented. 

Idea  Word. — The  class  inny  be  lead  by  appropriate  ques- 
tions, to  the  idea  involved  in  the  sentence.  When  I  say 
"  hat,"  what  do  you  think  about  ?  When  I  show  you  this 
(pointing  to  the  object,  hat),  what  do  you  think  about? 
What  is  the  name  of  this  object?  That  name  is  a  word. 
Can  you  see  the  word  "  hat  "  when  I  say  it  with  my  mouth  ? 
Where  are  words  put  so  that  you  can  see  them?  Would  you 
know  the  word  "hat  "if  I  should  show  it  to  you?  I  will 
now  show  you  the  word  "  hat,"  and  I  want  you  to  remember 
what  it  looks  like,  so  that  you  will  know  it  whenever  you 
see  it. 

Nothing  more  should  be  attempted  at  this  lesson  than  to 
impress  the  appearance  of  the  word  "  hat "  upon  the  minds 
of  the  class. 

Sounds. — By  prolonging  the  pronunciation  of  the  word 
*'  hat,"  the  teacher  can  readily  show  to  the  smallest  class, 
that  it  is  composed  of  different  sounds  ;  and  that,  to  say  the 
word  "hat"  is  only  to  put  these  sounds  so  close  together  that 
no  one  will  know  where  they  are  separated.  The  children 
should,  at  the  same  time,  be  taught  to  give  the  sounds. 

Letter. — Each  one  of  these  sounds  has  a  name.  Tell  the 
children  that  the  name  of  the  first  sound  heard  in  the  word 
"  hat  "  is  h.  Show  them  the  letter  h  and  show  them  that  it 
is  the  same  as  the  first  mark  or  form  in  the  word  "hat." 
The  sound  and  the  name  of  the  sound  should  then  ht 
frequently  alternated  until  the  class  will  associate  thenx 
readily,  and  promptly  recognize  either. 

Other  Words. — The  other  words  of  the  sentence  should 
be  taught  first  by  name  and  then  separated  into  sounds 
according  to  the  methods  suggested  for  the  word  "  hat." 

Reading. — The  teacher  of  primary  pupils  should  not 
force  upon  them  any  technical  definition  of  Reading,  but  hd 


182  V  TACTICAL  ELOCUTION. 

shoulil  so  coi.tliuv  their  approarb,  to  it,  that  thej'  will  nhnrytk. 
llie  idea  that  Rrmling  is  sauing  somflhing  fiom  words  that  ard 
seen. 

The  pupils,  hefore  eeeiiig  the  snitcncr,  "  It  is  my  hat," 
should  be  capable  of  pronouncing  the  words  of  the  sentence 
upon  sight,  as  promptly  as  they  would  pronounce  the 
names  of  their  classmates  or  of  their  brothers  and  sisters. 
Tlie  teacher  should  call  from  the  child  an  expression  of  the 
sentence  before  it  is  seen  :  "  Harry,  suppose  your  hat  is  in 
your  hand.  If  I  ask  you,  whose  hat  have  you  in  your  hand, 
what  will  you  say?"  He  may  answer,  "It's  mine."  The 
teacher  need  only  tell  him  that  it  is  prettier  and  more  cor- 
rect to  say,  "It  is  my  hat,"  and  that,  as  he  comes  to  school 
to  learn,  he  should  now  answer  in  those  words.  Harry, 
whose  hat  is  that?  The  answer  will  be  an  expression  and  not 
a  merely  formal  utterance  of  the  Avords,  as  if  the  teacher  liad 
pointed  in  succession  to  "It"  and  "is"  and  "my"  and 
"  hat."  The  expression  thus  obtained  should  then  be  used  as 
a  model  for  the  child.  How  did  you  say  "It  is  my  hat?" 
The  child  repeats,  and  in  the  repetition  is  copying  from  his 
own  natural  expression,  or  from  nature. 

The  model  having  been  obtained,  let  the  teacher  direct  the 
pupils  to  tlie  sentence  upon  the  board  or  chart,  asking, 
"  What  have  you  in  your  hand?"  They  will  answer  with 
a  proper  expression  of  the  words  which  thoir  eyes  noto  see. 
Tell  them  this  is  reading,  and  they  have  absorbed  the  idea 
that  Rending  is  sa^'ing  something  from  words  that  are  seen. 

The  object  has  been  to  approach  Reading  by  another  path 
than  through  pronunciation.  The  usual  impression  left 
upon  the  child  is,  "When  I  can  pronounce  the  words  of  the 
sentence,  I  can  read  it.  I  can  pronounce  the  words  of  this 
sentence,  therefore  I  can  read  it."  This  is  fundamentally 
wrong.  It  is  exalting  a  prerequisite  of  reading  to  reading. 
Pronunciation,  or  knowing  words  on  sight,  is  as  much  a  pre- 
requisite of  Reading  as  knowing  figures  is  a  prerequisite  of 
arithmetic.  Pu[)ils  should  be  constantly  impressed  with  the 
idea,  when  they  attempt  to  read,  that  it  is  taken  for  granted 


METHODS   OF   INSTRUCTION.  183 

that  they  k)ioH'  the  wnrdu.  By  the  above  process,  the  pupil 
will  be  early  led  to  comprehend  that  when  he,  knowing  the 
words,  knows  ivhuf  they  mean,  and  says  them  that  others  may 
know  ivhat  they  mean,  he  is  reading. 


ADVANCED  INSTRUCTION. 

Processes  for  the  cidtivation  and  'modulation  of  th^,  voice, 
a  furtlier  knowledge  of  tlie  sounds  of  the  language  and 
of  their  modifications,  and  the  study  and  practice  of  gesture, 
should  here  be  introduced,  according  to  the  age  and  grade  of 
the  pupils,  and  continued  systematically  in  connection  with 
all  the  lessons  in  reading.  The  principles  governing  Primury 
Instruction  should  be  continued  as  long  as  there  is  necessity 
for  them.  The  great  principle  there  presented  should  be 
kept  equally  prominent  in  Advanced  Instruction. 

The  following  outlnie  is  presentea  as  a  suggestive  guide  to 
the  teacher  of  the  advanced  reading  class  : 

First.    Read  the  lesson  for  the  class. 

Note. — Pupils  will  thus  obtain  a  general  impression  of  the  selection,  au«t 
Will  be  stimulated  to  tie  preparation  of  the  thought. 

Second.     Pupils  prepare  sentiment  of  the  lesson. 

Note. — This  relates  to  their  study  of  the  selection  between  recitations. 

Third.  Pupils  give  back  the  sentiment  of  the  lesson  in 
their  own  words,  with  explanation  and  anecdote. 

Note. — At 'east  one  period  should  be  thus  devoted  preparatory  to  reading  a' 
new  selection.  It  is  a  test  of  the  \>\\\n\s,''  knowledge  of  the  S'nithncnt.  It  culti- 
vates conversation  outside  of  the  usual  commnnplace  conversation  of  chil- 
dren. It  cultivates  a  conversational  style  of  expression  and  establishes  iht 
thought  of  the  lesson  in  the  mind  of  the  pupil. 

Fourth.    Word  preparation. 

Fifth.    Reading, 

Note.— Only  a  part  of  the  lesson  should  be  assigned  for  word  preparation  atni 
reading,  by  which  we  refer  to  such  practice  on  the  difTicult  words  as  will  spcu  * 
their  familiarity  to  the  eye  of  the  scholar;  also,  Uie  reading  of  individual  s«  •• 
Uuoes  and  paragraphs  with  reference  to  expressioa. 


1F4  PRACriCAIi  EI.OCTTTTOW. 

Sirth.     Keview  upon  merit. 

KoTE  1  —A  luilf  dozen  lessons  may  be  devoted  to  the  a'bove  exercises  npom  • 
single  selection.  The  pupils  Sihould  be  marked  upon  their  lessons  as  in  othei 
branches,  and  allowed,  aecording  to  tlie  rank  of  tlicir  marks,  to  road  a  part 
or  all  of  the  selection  before  the  class.  Tli is  exercise  may  be  continued  in  tliil 
order  of  the  marks  received  upon  preparation,  until  all  have  read  before  thd 
cl.iss. 

NoTK  2. — Two  selections  may  be  kept  before  the  class  at  one  time,  one  in  the 
process  of  review  upon  merit,  the  other  in  the  process  of  preparation.  Tliis, 
with  practical  exercises,  as  sugges:ed,  will  give  abundant  variety  to  the  recita- 
tion. 

To  THE  Teacher. — The  teacher  who  desires  to  obtain  for  his  pupils  rapid 
progress  in  pure,  natural  expression,  should  be  faithful  in  his  observation  and 
criticism  upon  their  /tab its  of  speech  in  all  the  recitations  of  ' 'le  school,  and 
as  ho  may  meet  them  at  their  homes  or  upon  the  plajground  The  lesson  in 
geography  or  arithmetic  should  be  given  in  pure  Toice,  clear  er\aoiatioB,  and 
iriUi  iuly.Uigent  •xpressifta. 


APPENDIX. 


MISCELLANEOUS  SUGGESTIONS. 


1.  In  Reading  and  Speaking,  let  each  separate  thought  be 
Well  defined ;  let  it  be  expressed  with  full  meaning  and  in 
due  proportion. 

2.  With  reference  to  Enunciation  there  should  be  such  a 
nearness  of  the  words,  the  one  to  the  other,  as  will  preserve 
a  magnetic  connection,  and  yet  sufficient  separation  to  pro- 
tect the  individuality  of  each.  A  failure  to  observe  the  first 
will  give  a  labored  style;  and  a  failure  to  observe  the  second 
will  produce  indistinctness. 

3.  The  speaker  should  be  governed  by  the  following  fanda* 
mental  principles  in  the  study  of  Public  Address.  Fird, 
He  should  reduce  the  expression  to  natural  and  original 
simplicity  and  truth,  measured  by  an  appropriate  conversa- 
tion of  the  same  language  to  a  single  individual.  Second. 
He  should  so  magnify  that  original  simplicity  that  it  may  be 
as  forcible  to  each  of  a  multitude  as  it  would  have  been  if  ad- 
dressed to  one  individual. 

4.  The  student  should  practice  frequenthj,  and  observe  his 
habit  constanthj,  rather  than  to  continue  practice  until  weary 

and  disinterested. 

Ib'o 


186  PRACTICAL  ELOCUTION. 

5.  In  reference  to  style  of  expression,  the  student  should 
practice  often  against  inclination  and  natural  taste ;  other- 
wise he  will  become  limited  in  style. 

6.  Reserve  characterization  for  such  sentiment  as  is  depend- 
"ent  upon  the  characterization  for  its  eftect.  When  it  is  ap- 
parent that  an  author  has  written  for  the  Ihow/ht,  though  put 
in  the  mouth  of  a  specific  character,  the  reader  should  make 
prominent  the  thonpht  rather  than  divert  it  liy  intruding  the 
character. 

7.  The  study  of  Elocution  is  the  study  of  the  highest  natu« 
ral  expression.  Our  highest  natural  expression  can  only  be 
attained  through  our  highest  manhood  and  womanhood. 
The  student,  therefore,  should  regard  character  in  voice 
and  manner  as  of  primary  importance  in  the  study  of  Elocu- 
tion. 


EMPHASIS. 


Emphasis  gives  due  prominence  to  the  important  thoughts 
oi  discourse.  It  employs  all  the  processes  of  expression, 
quality,  pitch,  force,  time,  and  slides. 

A  sentence  is  usually  composed  of  a  capital  idea,  subordi- 
nate or  dependent  ideas,  and  their  connections.  The  word 
or  words  expressing  the  capital  idea  represent  the  object  for 
which  the  sentence  was  written,  and  claim  such  emphasis 
as  will  give  it  corresponding  prominence  in  speech.  The 
subordinate  ideas  are  modifications  of  the  capital  thought, 
and  the  word  or  words  expressing  them  require  correspond- 
ing modifications  of  emphasis.  The  connectives  are  the 
linkings  of  the  capital  and  subordinate  ideas,  and  usually 
require  little  more  than  a  correct  vocal  utterance  for  their 
expression.  Varied  and  approjiriate  emphasis  constitutes 
the  highest  skill  of  intellectual  expression. 

Grouping. — A  proper  grouping  of  words  closely  related  to 
•ach  other  is  highly  important  to  correct  Emphasis. 


APPENDIX.  187 


MISCELLANEOUS  VOCAL  EXERCISES. 

KoTE. — The  following  exercisps  mav  be  made  a  continuation  of  the  Table  o( 
Vocal  Exercises  ou  page  41.  They  may  be  used  with  great  interest  and  profit 
|by  the  judicious  teacher  in  connection  with,  or  in  preparation  for,  the  regular 
reading  lesson. 

e 
ah  ah 

1.  aw  aw 

Note. — These  sounds,  in  the  order  they  are  placed,  If  properly  rendered, 
will  represent  the  purest  chest,  throat,  and  heMd  tones  of  which  the  voice  is 
capable.  The  student  should  be  careful  to  observe  that  there  is  a  pure  throat 
tone  and  a  pure  head  tone,  in  contradistinction  from  the  chest  tone,  but  that 
each  should  possess  what  may  be  termed  a  chest  resonance. 

2.  Co,  boss  !  CO,  boss  !  co  !  co  !  co  ! 

3.  Toll,  toll,  toll.     Hurrah  I  hurrah!  hurrah! 

4.  A,  it,  e,  6,  1,  1,  o,  6,  \\,  fl. 

Note. — These  may  be  practiced  in  various  ways,  but  a  special  advantage  may 
be  received  from  their  frequent  repetition  in  the  same  breath. 

5.  Select  the  names  of  a  number  of  hotels,  and  express 
them  according  to  taste  or  fancy,  in  imitation  of  a  variety  of 
hackmen  at  a  railroad  depot. 

6.  Battalion — Right  about — Turn — Forward. 
Halt — Fix  Bayonets — Quick — March. 
Double — Charge. 

7.  "  Pull,  pull  in  your  lassos  and  bridle  to  steed, 

And  speed,  if  ever  for  life  you  would  speed, 
And  ride  for  your  lives,  for  j'our  lives  you  must  ride; 
For  the  plain  is  allame,  the  prairie  on  fire; 
And  feet  of  wild  horses  liard  flying  before, 
I  hear  like  a,  soii.  breaking  high  on  the  shore; 
While  the  buffalo  conie  like  the  surge  of  the  sea, 
Driven  fir  by  the  flame,  driving  fast  on  us  tliree, 
As  a  hurricane  comes,  crushing  palms  in  bis  ire  :" 

Note. — This  exercise  is  given   with  sprcial   reference  to  economy  of  breath 
Raad  rapidly,  articulate  distinctly,  and  cousume  the  least  possible  breath. 


188 


PKACTICAL   Kl.OCUTION. 


n  Cliarcoal,  charcoal,  charcoal. 

Charcoal,  charcoal,  charcoal. 

charcoal,  charcoal,  charcoal. 

Charcoal,  charcoal,  charcoal, 

ol,  charcoal,  charco 


Charco 


ol,  charcoal. 


Note. — In  tho  first  of  these  exercises  there  should  be  a  separation  of  pitcli 
between  the  first  three  and  the  second  three,  to  the  extent  of  an  octave.  In  the 
second,  change  the  pitch  to  the  same  degree  upon  each  successive  word.  In  the 
third  exercise,  let  the  voice  pass  through  the  same  degree  of  pitch,  making  the 
changes  as  the  diagram  suggests. 

9.  Vary  the  long  vowel  sounds  among  the  different  forms, 
(as  represented  by  the  Table  of  Vocal  Exercises,)  changing 
at  will ;  also  according  to  the  several  qualities  and  other 
modulations  of  voice. 

10.  Oyez  !  oyez  !  All — persons — having — business — to — 
do — with — the— Circuit— Court — of —  the  — United — States — 
for — the — Southern — District — of — New — York — draw — near 
— give — your — attention — and — you — shall— be — heard. 

11.  Boat  ahoy  I 


12. 


^^S^ 


^ 


-fv^=^=l 


■i^ 


:feif^ 


::iL-^^ir:^^^'^ 


IV  ~s 


1 


•linit-^ 


ZJ 


p- 
pp. 


Ihear  tliem  iiowuii-oii  the  hill,  I  hear  thorn  faint-er  and  fain t-er  still. ' 
1  licartheiii  nowu|)-uii  the  hill,  1  hear  tlieni  laiiU-er  and  faint-er  still. 
I  hear  them  now  up-on  the  hill,  I  hear  them  faiut-e  rand  faint-er  still. 


_y_LJi;i^zizJ: 


s  .  s- 


They      stole,       they       stole,       they  stole  my  child  a 
i'hey      stole,       they       stole,       they   stole  my  child  a 


way. 
way. 


APPENDIX.  189 


LAUGHTER. 

No  other  exercise  is  more  healthful,  either  to  the  mind  or 
body,  than  pure,  natural  laughter,  Thejudicious  practice  of 
this  as  an  exercise,  in  representation  of  the  various  styles  of 
laughter,  will  be  found  useful  and  invigorating.  Here  again 
the  long  vowel  sounds  alone,  or  preceded  by  the  sound  of  h, 
may  be  used  with  excellent  effect.  The  student  will  readily 
find  other  exercises  appropriate  for  practice. 

BIBLE  READING. 

It  will  be  conceded  that  no  other  language  is  so  rich  in 
meaning  as  the  language  of  the  Bible.  Great  leading  truths 
are  but  the  branches  upon  which  cluster  the  most  varied 
practical  lessons  of  wisdom  and  virtue. 

Almost  whole  hooks  of  the  sacred  writings  are  marked  in 
each  successive  sentence  with  this  abundant  fruitfulness  of 
meaning.  With  but  an  equal  amount  of  attention  and 
preparation,  it  is,  therefore,  but  natural  that  there  would  be 
correspondingly,  a  greater  failure  in  giving  full  and  complete 
expression  to  the  language  of  the  Bible  than  to  the  language 
of  human  origin. 

In  the  most  ordinary  forms  of  speech,  a  part  of  tbe  sense 
is  constantly  lost  for  want  of  a  proper  adaptation  in  the 
modulations  of  the  voice.  How  much  more  this  must  be 
true  where  almost  every  word  has  an  important  bearing 
ui)on  the  whole,  thus  requiring  a  constantly  changing 
variety  of  tone,  time,  stress  and  slide,  in  giving  completeness 
to  the  sense.  Here  may  be  based  two  great  classes  of  evils 
in  expression. 

1st.  Tliat  form  of  expression  which  yields  only  a  part  of  the 
meaning.  We  have  a  vast  field  of  utterance,  marked  by 
various  degrees  of  monotony,  in  which  only  a  fart  of  the 
meaning  is  brought  out.  No  injustice  maybe  done  to  that 
which  is  said,  but  it  is  not  all  said.     Important  words  are  lost 


190  PRACTICAL  ELOCUTION. 

in  the  general  tone.  Tlie  lights  and  shades  of  modulation 
are  slighted,  thus  robhing  the  author  of  much  that  his  words 
bliould  have  been  made  to  convey.  Through  ignorance  of 
the  i)0\ver  of  these  changes,  or  the  neglect  of  them,  precious 
utterances  are  rendered  fruitless  and  barren. 

2d.  A  perversion  of  the  true  meaning.  A  quality  of  voice  at 
variance  with  the  sentiment,  an  improper  pitch,  a  misplaced 
emphasia,  ii. appropriate  time,  a  false  slide  or  inflection,  may 
80  utterly  destroy  the  sense,  and  raisrcprcsent  the  meaning,  as 
to  divert  the  words  entirely  from  their  purpose. 

It  should  he  made  the  conscientious  practice  of  every 
reader  of  the  Bible,  fiist  to  satisfy  his  own  mind  as  to  the 
meaning  of  each  passage,  and  then  to  see  that  his  rendering 
will  properly  represent  that  meaning. 

In  addition  to  these  common  wants  of  expression,  there  is 
a  variety  of  styles,  in  popular  use,  peculiar  to  Bible  reading, 
against  which  we  utter  a  most  respectful,  though  a  most 
earnest  protest. 

1st.  Professional  Style. 

This  is  capable  of  sub-division  into  a  number  of  varieties, 
but  with  so  little  in  favor  of  either,  as  to  give  no  ground  for 
distinction  in  the  general  objection.  The  reader  should 
avoid  any  style  that  is  professional,  if  for  no  other  reason  than 
that  it  is  professional. 

2d.  Inflated  Style. 

There  is  that  form  of  utterance  which  says  in  the  tone  and 
manner,  "I  am  conmiissioned  to  handle  this  message. 
Behold  me!  Listen  to  me!"  At  which,  great  swelling 
sounds  issue  forth,  with  the  inifortunate  effect  that  Divine 
words  are  lost  in  liunian  sound.  We  should  ever  recognize  by 
a  hinnility  of  tone  and  manner  that  the  words  are  Jehovah's. 

3d.  Pious  Tone. 

We  are  not  opposed  to  the  utmost  purity  of  voice,  marked 
with  a  manly  dignity  and  a  becoming  solemnity,  but  there 
prevails  a  variety  of  cant  and  whine  which  should  i^ill  under 


APPENDIX.  191 

the  same  condemnation  which  God  Himself  pronounces 
upon  olher  Up  service.  The  best  gift  which  God  gave  to  man 
jn  the  flesh,  is  his  ■})ianhood;  and  we  will  not  believe  that  He 
meant  we  should  lose  that  manhood  when  uttering  His 
words.  If  ever  it  should  glow  and  burn  in  all  its  Divine 
origin,  it  is  when  thus  standing  in  God's  stead. 

4lh.  Tnfling  Style. 

This  style,  in  contrast  with  professional  dignity  and  exces- 
sive piety,  is  no  less  to  be  guarded  against.  King's  messages, 
the  proclamations  of  Chief  Magistrates,  the  language  of  the 
wise  and  learned,  claim  a  corresponding  dignity  of  expres- 
sion ;  how  much  more  the  words  of  Infiuite  Power  and  of 
Infinite  Wisdom. 

It  is  evident  that  the  very  purpose  of  the  Divine  Word 
may  be  thwarted  by  the  tone  and  mauner.  God  Las  made 
His  word  simple.  Do  not  rob  it  of  that  simplicity  by  bring- 
ing in  a  profundity  of  expression.  He  has  brought  it  down 
to  the  comprehension  of  the  human  mind.  Do  not  give 
such  an  inhuman  utterance  as  to  raise  it  up  out  of  the  reach 
of  humanity. 

God  has  made  it  plain.  Do  not  involve  it  in  mysteiy  by 
vacant,  weird  and  professional  tones.  Gcxl  meant  it  for  man. 
Do  not  read  it  to  the  angels.  It  is  the  word  of  the  dear 
Heavenly  Father,  full  of  mercy  and  the  tenderest  aflection. 
Do  not  read  it  as  the  message  of  an  Absohite  Monarch. 
Yet,  it  is  God's  word.  Avoid  that  reckless  vagabondish  man- 
ner which  so  often  marks  the  utterance  of  human  language. 

It  is  God's  truth,  meant  for  man.  Read  it  as  of  old  they 
read  "  in  the  law  of  God,  distinctly,  and  ga.ve  the  sense.,  and 
caused  them  to  understand  the  reading." 

SOUND  TO  SENSE. 

A  vast  number  of  words  in  the  language  afford  special 
opportunity  fur  significant  expression  through  the  sounds  of 
which  they  are  composed.    There  is  an  obvious  harmony 


192  PRACTICAL  ELOCUTION. 

between  tho  snimils  ami  the  meaning  of  the  words,  \»  in 
the  following  exaini)les:  Dash,  round,  noble,  rich,  sublime^ 
brisk,  strength,  pofjr,  little,  great,  whirlwind,  glory,  rongh, 
smooth,  fresh,  victory,  thunder,  old,  ragged,  murmur,  repose. 

NoTK. — ^Siich  words  are  much  more  numerous  than  is  generally  supposed, 
»ud  ibt-y  should  be  carefully  practiced  iu  tbe  preparation  of  a  aelectiou. 

TRANSITIOM. 

Prompt  and  appropriate  change  of  voice  and  manner  in 
harmony  with  the  changing  effects  of  language,  is  indis- 
pensable to  the  art  of  expression.  Discourse  is  often  like  the 
dissolving  view,  interesting  and  effective  largely  from  its 
contrasts.  It  requires  one  or  more  of  the  corresponding 
contrasts  of  quality,  pitch,  force,  time,  position,  countenance, 
or  movement. 

ANALYSIS. 

With  a  view  to  a  clear  comprehension  of  the  language  to 
be  spoken,  it  is  highly  important  that  the  student  form  the 
habit  of  a  close  analysis  of  the  thought,  and  of  the  api)liciv- 
tion  of  modulation  and  action  to  its  expression.  The  intelli- 
gent student  of  literature  will  have  practical  methods  for  the 
mental  anal3'sis  of  sentiment,  j^et  he  may  V^e  aided  towards 
its  expression  by  the  answer  of  such  questions  as  the  follow- 
ino^:  Who  wrote  the  language?  When  did  he  write  it? 
Vriiy  did  he  write  it?  What  were  the  motives  which  prompted 
/lim  to  think  the  thought  here  expressed?  What  would  be 
the  state  of  mind  and  heart  of  one  in  a  condition  to  utter 
such  language;?  If  the  conditions  of  life  had  so  borne  upon 
me  as  to  call  from  me  such  thought,  how  would  I  express  it? 

When  the  reader  has  thus  investigated  the  language  of  the 
autlior,  and  analyzed  *he  source  of  the  thought  it  expresses, 
he  has  louclied  a  corresponding  source  in  his  own  nature,  and 
has  sprung  upon  himself  the  motives  and  the  conditions  o/ 
mind  and  body  best  fitted  to  its  expression. 


APPENDIX.  193 

In  addition  to  this  general  analysis  he  may  also  ascertain 
the  character  of  tone,  the  changes  of  tone,  the  position 
of  the  body,  and  the  movement  necessary  to  express  the 
particular  thought.  What  general  quality  of  voice  should 
be  used  to  express  the  thought?  Does  the  language  suggest 
any  exception  to  the  general  quality?  What  is  the  general 
pitcli?  And  what  are  the  exceptions  to  the  general  pitch? 
What  is  the  prevailing  force  and  what  are  the  exceptions  to 
the  prevailing  force?  With  reference  to  slides,  do  the 
positive  or  negative  qualities  of  sentiment  prevail?  What 
attitude  or  position  of  body  would  best  reflect  the  general 
thought,  and  what  changes  are  demanded?  What  of  the 
facial  expression  ?  Does  the  language  suggest  conversational, 
oratorical,  or  dramatic  action  ? 

Such  analysis  as  this  on  the  part  of  the  student  will  lead 
to  a  prompt  and  appropriate  association  of  voice  and  manner 
with  the  sentiment  to  be  expressed. 

Note. — The  student  will  constantly  finil  difficulty  in  distinguishing  ths  quality 
of  the  yoice  or  the  degree  of  pitch  or  force,  or  the  shade  of  slide,  or  the  iiarticu- 
lar  action  which  the  thought  suggests.  Sentiment  is  so  subtle  and  its  clianges 
80  im perceptible  that  it  will  be  impossible  to  folliiw  it  by  any  order  of  reas  ming, 
and  he  must  be  content  with  discovering  the  tendency  of  the  thought  with  refer> 
«nce  to  the  various  mediums  of  expression. 


REPOSE. 

Our  conceptions  of  God  lead  us  to  think  of  a  being  not  idle, 
but  one  to  whom  labor  is  rest;  so  wise  that  He  knows  without 
exertion;  so  abundant  in  resources  that  the  supply  is  ever 
equal  to  the  demand.  A  noble  conception  of  God  has  never 
created  a  being  subject  to  excitement,  or  agitation,  or  one 
who  could  be  moved  or  changed  by  the  agitations  of  His 
creatures.  He  spake  and  it  was  brought  forth.  Ho  speaks 
and  it  is  done.  He  bids  alike  the  storm  or  the  calm.  He 
commands  the  light  or  the  durknoss,  niid  it  ob(>ys  him. 

Art  is  the  effort  of  tlie  creature  to  reproduce  the  work  of 


194  PRACTICAL  ELOCUTION. 

the  Creator.  When  Ood  ni;u1o  in;\n.  He  breathed  into  hin: 
the  breath  of  life,  and  in  that  breath  of  Hfe  was  the  breath  oi 
germ  of  divinity,  and  in  proportion  as  man  becomes  infused 
witli  the  divine  breath,  in  proportion  as  he  has  much  of  God 
witliin  him  may  he  hope  to  breathe  into  his  art  divine  breath, 
be  it  the  marble,  the  canv;is,  the  printed  pa<;e,  or  the  human 
voice;  and  no  other  power  of  art  will  80  reflect  divine  power 
as  repose.  The  highest  power  is  mastery,  and  the  highest 
mastery  is  self-mastery,  and  of  self-mastery  repose  is  the  em- 
blem. The  orator,  next  to  God  himself,  needs  to  possess 
the  world,  and  to  possess  the  world  he  nnist  first  possess  him- 
self,— his  hand,  his  foot,  his  eye,  his  breath,  his  body,  his 
mind,  his  soul.  Then,  art  shall  have  linked  itself  with 
divinity. 


SELECTIONS  FOR  PRACTICE. 


SANDALPHON. 


HAVE  you  read  in  the  Tulmud  of  old, 
In  the  Legends  the  Rabbins  have  told 
Of  the  limitless  realms  of  the  air ; 
Have  you  read  it — the  marvelous  story 
Of  Sandalphon,  the  Angel  of  Glory, 
Sandalphon,  the  Angel  of  Prayer? 

How,  erect,  at  the  outermost  gates 
Of  the  City  Celestial  he  waits, 

AVitli  his  feet  on  the  ladder  of  light, 
Ihat,  crowded  with  angels  unnumbereci, 
By  Jacob  was  seen,  as  he  slumbered 

Alone  in  the  desert  at  night  ? 

The  Angels  of  Wind  and  of  Fire 
Chant  only  one  hymn,  and  expire 

With  the  song's  irresistible  stress — 
Ex])ire  in  their  rapture  and  wonder, 
As  harp-strings  are  broken  asunder 

By  music  they  ilwoh  to  express. 

But  serene  in  the  rapturous  throng, 
Unmoved  by  the  rush  of  the  song. 

With  eyes  unimpassioned  and  slow. 
Among  the  dead  angels,  the  deathless 
Sandalphon  stands  listening,  ])reathle33, 

To  sounds  that  ascend  from  below  • — 

197 


108  PRACTICAL    ELOCUTION. 

From  the  spirits  on  earth  that  adore, 
From  the  souls  that  entreat  and  implore 

In  the  fervor  and  pa.ssion  of  prayer; 
From  the  hearts  that  are  broken  with  losses, 
And  weary  with  draj^ging  the  crosses 

Too  heavy  for  mortals  to  bear. 

And  lie  gathers  the  prayers  as  he  stands, 
And  they  change  into  tluwers  in  liis  liands, 

Into  garlands  of  pur[)le  and  red  ; 
And  beneath  the  great  arch  of  the  portal, 
Through  the  streets  of  the  City  Immtirtal 

Is  wafted  the  fragrance  they  shed. 

It  is  but  a  legend  I  know, 
A  fable,  a  phantom,  a  show. 

Of  the  ancient  Rabbinical  lore ; 
Yet  the  old  mediaeval  tradition, 
The  beautiful,  strange  superstition. 

But  liaunts  me  and  holds  me  the  more. 

"When  I  look  from  my  window  at  night, 
And  the  welkin  above  is  all  white. 

All  throbbing  and  panting  with  stars. 
Among  them,  majestic,  is  standing 
Sandal] )hon,  the  angel,  expanding 

His  pinions  in  nebulous  bare. 

And  the  legend,  I  feel,  is  a  part 

Of  the  hunger  and  thirst  of  the  heart — 

The  frenzy  and  fire  of  the  brain, 
That  grasps  at  the  fruitage  forliiddeu, 
The  golden  pomegranates  of  Eden, 

To  quiet  its  fever  and  pain.         Loxgflllow. 


ECHO   AND   NARCISSUS.  199 


ECHO  AND  NARCISSUS. 


ECHO  was  a  beautiful  nynipli,  fond  of  the  woods  and 
hills,  where  she  devoted  herself  to  woodland  sports. 
She  was  a  favorite  of  Diana,  and  attended  her  in  the 
chase.  But  Echo  had  one  failing ;  she  was  fond  of  talk- 
ing, and  whether  in  chat  or  argument,  would  have  the  last 
word.  One  day  Juno  was  seeking  her  husband,  who,  she 
had  reason  to  fear,  was  amusing  himself  among  the  nymphs. 
Echo  by  her  talk  contrived  to  detain  the  goddess  till  the 
nymphs  made  their  escape.  When  Juno  discovered  it,  she 
passed  sentence  upon  Echo  in  these  words  :  "  You  shall  for- 
feit the  use  of  that  tongue  with  which  you  have  cheated 
me,  except  for  that  one  purpose  you  are  so  fond  of — reply. 
You  shall  still  have  the  last  word,  but  no  ])ower  to  speak 
first." 

This  nymph  saw  Narcissus,  a  beautiful  youth,  as  he  pur- 
sued the  chase  upon  the  mountains.  She  loved  him  and 
followed  his  footsteps.  O,  how  she  longed  to  address  him 
in  the  softest  accents,  and  win  him  to  converse ;  but  it 
was  not  in  her  power.  She  waited  with  impatience  for 
him  to  speak  first,  and  had  her  answer  ready.  One  day 
the  youth,  being  separated  from  his  companions,  shouted 
aloud,  "  Who's  here  ?"  Echo  replied,  "  Here."  Narcissus 
looked  around,  but  seeing  no  one,  called  out,  "Come!" 
Echo  answered,  "  Come."  As  no  one  came.  Narcissus 
called  again,  "  Why  do  you  shun  me  ?"  Echo  asked  the 
same  question.  "  Let  us  join  one  another,"  said  the 
youth. 

The  maid  answered  with  all  her  heart  in  the  same 
words,  and  hastened  to  the  spot,  ready  to  throw  her  arjiis 
iibout  his  neck.     He  started   back,  exclaiming,  "  lland.s 


200  PRACTICAL    ELOCUTION. 

off!  I  would  rather  die  than  you  sliouhl  liave  inc !"  "  Have 
lue,"  said  she  ;  hut  it  was  all  iu  vain,  lie  left  her,  and  she 
went  to  hide  her  blushes  in  the  reeessesof  the  woods.  From 
that  time  forth  she  lived  in  eaves  and  among  mountain  cliffs. 
Her  form  faded  with  grief,  till  at  last  all  her  flesh  shrank 
away.  Her  hones  were  eliaiiged  into  rocks,  and  there  was 
nothing  left  of  her  but  her  voice.  With  that  she  is  still 
ready  to  reply  to  any  one  who  calls  her,  and  keeps  up  her 
old  habit  of  having  the  last  word. 

Xarci-ssus'  cruelty  in  this  case  was  not  the  only  instance. 
He  shunned  all  the  rest  of  the  nymphs,  as  he  had  done 
poor  P^cho.  One  day  a  maiden,  who  had  in  vain  endeav- 
ored to  attract  him,  uttered  a  prayer  that  he  might  some 
time  or  other  feel  what  it  was  to  love  and  meet  no  return 
of  affection.  The  avenging  goddess  heard  and  granted 
the  prayer. 

There  was  a  clear  fountain,  with  water  like  silver,  to 
which  the  shepherds  never  drove  their  flocks,  nor  the 
UKnintain  goats  resorted,  nor  any  of  the  beasts  of  the  forest, 
neither  was  it  defaced  with  fallen  leaves  or  branches ;  but 
the  grass  grew  fresh  around  it,  and  the  rocks  sheltered  it 
from  the  sun.  Plither  came  one  day  the  youth  fatigued 
with  hunting,  heated  and  thirsty.  He  stooped  down  to 
drink,  and  saw  his  own  image  in  the  water;  he  thought  it 
was  some  beautiful  water-s]Mrit  living  in  the  fountain.  He 
i>tood  gazing  with  admiration  at  those  bright  eyes,  those 
locks  curled  like  the  locks  of  Bacchus  or  Apollo  ;  the 
rounded  cheeks,  the  ivory  neck,  the  parted  lips,  and  the 
glow  of  health  and  exercise  over  all.  He  fell  in  love  with 
himself. 

He  brought  his  lips  near  to  take  a  kiss ;  he  plunged  his 
arms  in  to  embrace  the  beloved  (jbject.  It  fled  at  the 
touch,  but  returned  again  after  a  moment  and  renewed  the 


ECHO   AND   NARCISSUS.  201 

fascination.  He  could  not  tear  himself  away ;  he  lost  all 
thought  of  food  or  rest,  while  he  hovered  over  the  brink 
of  the  fountain  gazing  upon  his  ow^n  image.  He  talked 
with  the  supposed  spirit :  "  Why,  beautiful  being,  do  you 
shun  me  ?  Surely,  my  face  is  not  one  to  repel  you.  The 
nymphs  love  me,  and  you  yourself  look  not  indifferent 
upon  me.  When  I  stretch  forth  my  arms  you  do  the 
same,  and  you  smile  upon  me  and  answer  my  beckonings 
with  the  like."  His  tears  fell  into  the  water  and  disturbed 
the  image.  As  he  saw  it  depart,  he  exclaimed,  "  Stay,  I 
entreat  you !  Let  me  at  least  gaze  upon  you,  if  I  may  not 
touch  you." 

With  this,  and  much  more  of  the  same  kind,  he  cher- 
ished the  flame  that  had  consumed  him,  so  that  by  degrees 
he  lost  his  color,  his  vigor,  and  the  beauty  which  formerly 
had  so  charmed  the  nymph  Echo.  She  kept  near  him, 
however,  and  when  he  exclaimed,  "  Alas !  alas !"  she  an- 
swered him  with  the  same  words.  He  pined  away  and 
died  ;  and  when  his  shade  passed  the  Stygian  River,  it 
leaned  over  the  boat  to  catch  a  look  of  itself  in  the  waters. 
The  nymphs  mourned  for  him,  especially  the  water 
nymphs  ;  and  when  they  smote  their  breasts  Echo  smote 
hers  also.  They  prepared  a  funeral  pile,  and  would  have 
burned  tlie  body,  but  it  was  nowhere  to  be  found  ;  but  in 
its  place  a  flower,  purple  within  and  surrounded  witli  white 
leaves,  which  bears  the  name  and  preserves  the  memory  of 
Narcissus.  Thomas  Bulfincii. 


9* 


202  PRACTICAL   ELOCUTION. 


LADY  CLARA  VERE  DE  VERE. 


LADY  Clara  Vere  de  Vere, 
Of  me  you  shall  not  win  renown  : 
Y^ou  thought  to  break  a  country  heart 
For  })astinie,  ere  you  went  to  town. 
At  me  you  smiled,  but  unbeguiled 

I  saw  the  snare,  and  I  retired  : 

The  daughter  of  a  hundred  Earls, 

You  are  not  one  to  be  desired. 

Lady  Clara  Vere  de  Vere, 

I  know  you  proud  to  bear  your  name  ; 
Your  pride  is  yet  no  mate  for  mine, 

Too  proud  to  care  from  whence  I  came : 
Nor  would  I  break  for  your  sweet  sake 

A  heart  that  dotes  on  truer  charms. 
A  simple  maiden  in  her  flower 

Is  worth  u  hundred  coats-of-arms. 

Lady  Clara  Vere  de  Vere, 

Some  meeker  pupil  you  must  find  ; 
For,  were  you  queen  of  all  that  is, 

I  could  not  stoop  to  such  a  mind. 
You  sought  to  prove  how  I  could  love. 

And  my  disdain  is  my  reply  : 
The  lion  on  your  old  stone  gates 

Is  not  more  cold  to  you  than  I. 

Lady  Clara  Vere  de  Vere, 

You  put  strange  memories  in  my  head  ; 
Not  thrice  your  branching  limes  have  blown 

Since  I  beheld  young  Laurence  dead- 


LADY   CLARA    VERK   DE   VERE.  20S 

O,  your  sweet  eyes,  your  low  replies  ! 

A  great  enchantress  you  may  be  ; 
But  there  was  that  across  his  throat 

Which  you  had  hardly  cared  to  see. 


Lady  Clara  Vere  de  Vere, 

When  thus  he  met  his  mother's  view, 
She  had  the  passions  of  her  kind, 

She  spake  some  certain  truths  of  you  : 
Indeed  I  heard  one  bitter  word 

That  scarce  is  lit  for  you  to  hear  ; 
Her  manners  had  not  that  repose 

AVhich  stamps  the  cast  of  Vere  de  Vere, 

Lady  Clara  Vere  de  Vere, 

There  stands  a  spectre  in  your  hall : 
The  guilt  of  blood  is  at  your  door  ; 

You  changed  a  wholesome  heart  to  gall. 
You  held  your  course  without  remorse, 

To  make  him  trust  his  modest  worth  ; 
And,  last,  you  fix'd  a  vacant  stare, 

And  slew  him  with  your  noble  birth. 

Trust  me,  Clara  Vere  de  Vere, 

From  yon  blue  heavens  above  us  bent 
The  grand  old  gardener  and  his  wife 

Smile  at  the  claims  of  long  descent. 
Howe'er  it  be,  it  seems  to  me 

'Tis  only  noble  to  l)e  good  : 
Kind  hearts  are  more  than  coronets, 

And  simple  faith  than  Norman  blood. 


20-i  PRACTICAL    KLOCUTION. 

I  know  you,  C'hini  \'cic  de  \'erc  : 

You  pine  among  your  hulls  and  towers  ; 
The  lani^uid  liixht  of  your  proud  eyes 

Is  weurieii  of  the  rollhig  hours. 
In  glowing  health,  with  boundless  wealth, 

But  siekeniug  of  a  vague  disease, 
You  know  so  ill  to  deal  with  time, 

You  needs  must  play  sueh  j)ranks  as  these. 

Clara,  Clara  Yere  de  Yere, 

If  time  be  heavy  on  your  hands, 
Are  there  no  beggars  at  your  gate, 

Nor  any  poor  about  your  lands  ? 
O  !  teach  the  orphan-boy  to  read  ! 

Or  teach  the  orphan-girl  to  sew  ; 
Pray  Heaven  for  a  human  heart, 

And  let  the  foolish  yeoman  go. 

Alfred  Tennyson. 


MASSACHUSETTS  AND  SOUTH  CAROLINA. 


I  SHALL  not  acknowledge  that  the  honorable  member 
goes  before  me  in  regard  for  whatever  of  distinguished 
talent,  or  distinguished  character,  South  Carolina  has  pro- 
duced. I  claim  part  of  the  honor,  I  partake  in  the  pride, 
of  her  great  names.  I  claim  them  for  countrymen,  one 
and  all ;  the  Laurenses,  the  Rutledgcs,  the  Pinckneys,  the 
Sumters,  the  Marions,  Americans  all,  whose  fame  is  no 
more  to  be  hemmed  in  by  State  lines,  than  their  talents  and 
patriotism  were  capable  of  being  circumscribed  within  the 
same  narrow  limits.  In  their  day  and  generation,  they 
served  and  honored  the  country,  and  the  whole  country  ; 


MASSACHUSETTS   AND   SOUTH   CAROLINA.  205 

and  their  renown  is  of  the  treasures  of  the  whole  country. 
Him  whose  honored  name  the  gentleman  himself  bears, 
— does  he  esteem  me  less  capable  of  gratitude  for  his  pa- 
triotism, or  sympathy  for  his  sufferings,  than  if  his  eyes 
had  first  opened  upon  the  light  of  Massachusetts,  instead 
of  South  Carolina?  Sir,  does  he  suppose  it  in  his  power 
to  exhibit  a  Carolina  name  so  bright  as  to  produce  envy  in 
my  bosom  ? 

No,  sir,  increased  gratification  and  delight,  rather.  I 
thank  God  that,  if  I  am  gifted  with  little  of  the  spirit 
which  is  able  to  raise  mortals  to  the  skies,  I  have  yet  none^ 
as  I  trust,  of  that  other  spirit  which  would  drag  angels 
down.  When  I  shall  be  found,  sir,  in  my  place  here  in 
the  Senate,  or  elsewhere,  to  sneer  at  public  merit,  because 
it  hapjDcns  to  spring  up  beyond  the  little  limits  of  my  own 
State  or  neighborhood ;  when  I  refuse,  for  any  such  cause, 
or  for  any  cause,  the  homage  due  to  American  talent,  to 
elevated  patriotism,  to  sincere  devotion  to  liberty  and  the 
country  ;  or,  if  I  see  an  uncommon  endowment  of  Heaven, 
if  I  see  extraordinary  capacity  and  virtue  in  any  son  of 
the  South,  and  if,  moved  by  local  prejudice  or  gangrened 
by  State  jealousy,  I  get  up  here  to  abate  the  tithe  of  a  hair 
from  his  just  character  and  just  fame,  may  my  tongue 
cleave  to  the  roof  of  my  mouth  ! 

Sir,  let  me  recur  to  pleasing  recollections ;  let  me  in- 
dulge in  refreshing  rememl)rance  of  the  ])ast  ;  let  me  re- 
mind you  that,  in  early  times,  no  Slates  cherished  greater 
harmony,  both  of  princi|)le  and  feeling,  than  Massachu- 
setts and  South  Carolina.  Would  to  God  that  harmony 
might  again  return!  Shoulder  to  shoukler  they  went 
through  the  Revolution  ;  hand  in  hand  they  stood  round 
the  administration  of  Washington,  and  felt  his  own  great 
arm  lean  on  them  for  support.     Unkind  feeling,  if  it  exist, 


206  PRACTICAL   ELOCUTION. 

alieuation  and  dislriist,  arc  the  gruwtli,  unnatural  to  such 
soils,  of  false  principles  since  sown.  They  are  weeds,  tha 
seeds  of  whicli  that  same  j^reat  arm  never  scattered. 

Mr.  President,  I  shall  enter  on  no  encomium  u]Jon  Mas- 
sachusetts ;  she  needs  none.  There  she  is :  behold  her, 
and  judLce  for  yourselves.  There  is  her  history ;  the  world 
knows  it  by  heart.  The  past,  at  least,  is  secure.  There  iis 
Boston,  and  Concord,  and  Lexington,  and  Hunker  Hill  ; 
and  there  they  will  remain  forever.  The  bones  of  her 
sons,  falling  in  the  great  struggle  for  Inde])endence,  now 
lie  mingled  with  the  soil  of  every  State  from  New  England 
to  Georgia ;  and  there  they  will  lie  forever.  And,  sir, 
where  American  Liberty  raised  its  first  voice,  and  where 
its  youth  was  nurtured  and  sustained,  there  it  still  lives,  in 
the  strength  of  its  manhood  and  full  of  its  original  spirit. 
If  discord  and  disunion  shall  wound  it;  if  jiarty  strife  and 
blind  ambition  shall  hawk  at  and  tear  it ;  if  folly  and 
madness,  if  uneasiness  under  salutary  and  necessary  re- 
straint shall  succeed  in  separating  it  from  that  Union  by 
which  alone  its  existence  is  made  sure  ;  it  will  stand  in  the 
end,  by  the  side  of  that  cradle  in  which  its  infancy  was 
rocked  ;  it  will  stretch  forth  its  arm,  with  whatever  of 
vigor  it  may  still  retain,  over  the  friends  who  gather  round 
it ;  and  it  will  fall  at  last,  if  fall  it  must,  amidst  the  proud- 
est monuments  of  its  own  glory,  and  on  the  very  spot  of  its 
origin. 

Daniel  Webster. 


eOOD   NEWS    FROM   GHENT   TO   AIX.  207 


HOW  THEY  BROUGHT  THE  GOOD  NEWS  FROM 
GHENT  TO  AIX. 

I  SPRANG  to  the  stirrup,  and  Joris,  and  he ; 
I  galloped,  Dirck  galloped,  we  galloped  all  three ; 
"  Good  speed  !"  cried  the  watch,  as  the  gate-bolts  undrew; 
"  Speed  !"  echoed  tlie  wall  to  us  galloping  through  ; 
Behind  shut  the  postern,  the  lights  sank  to  rest, 
And  into  the  midnight  we  galloped  abreast. 

Not  a  word  to  each  other ;  we  kept  the  gi'eat  pace 
Neck  by  neck,  stride  by  stride,  never  changing  our  place ; 
I  turned  in  my  saddle  and  made  its  girths  tight. 
Then  shortened  each  stirrup,  and  set  the  pique  right, 
Rebuckled  the  check-strap,  chained  slacker  the  bit. 
Nor  galloped  less  steadily  Roland  a  whit. 

'Twas  moonset  at  starting ;  but  while  we  drew  neal 

Lokeren,  the  cocks  crew,  and  twilight  dawned  clear; 

At  Boom,  a  great  yellow  star  came  out  to  see ; 

At  Diiffeld,  'twas  morning  as  plain  as  could  be ; 

And  from  Mecheln  church -steeple  we  heard  the  half-chime, 

So  Joris  broke  silence  witli,  "  Yet  there  is  time !" 

At  Aerschot,  up  leaped  of  a  sudden  the  sun, 
And  against  him  the  cattle  stood  black  every  one, 
To  stare  thro'  the  mist  at  us  galloping  i)ast, 
And  I  saw  my  stout  galloper  Roland  at  last, 
With  I'esolute  shoulders,  each  butting  away 
The  haze,  as  some  blufl'  river  headland  its  spray. 

And  his  low  head  and  crest,  just  uue  sharp  ear  bent  back 
For  my  voice,  and  the  other  pricked  out  on  his  track ; 


208  PRACTICAL    ELOCUTION. 

And  one  eye's  l)lac'k  intelligeiur, — ever  that  glance 
O'er  its  white  edge  at  me,  liis  own  master,  asi<ance ! 
And  the  thick  heavy  spume-flakes  whicli  aye  and  anon 
His  fierce  lips  shook  upward  in  gallo])ing  on. 

By  Hasselt,  Dirck  groaned  ;  and  cried  Joris,  "  Stay  spur ! 
Your  Roos  galloped  bravely,  the  fault's  not  in  her; 
We'll  remember  at  Aix" — for  one  heard  the  quick  wheeze 
Of  her  chest,  saw  the  stretched  neck,  and  staggering  knees. 
And  sunk  tail,  and  horrible  heave  of  the  flank. 
As  down  on  her  haunches  she  shuddered  and  sank. 

So  we  were  left  galloping,  Joris  and  I, 

Past  Looz  and  past  Tongres,  no  cloud  in  the  sky  ; 

The  broad  sun  above  laughed  a  ])itik'S8  huigh, 

'Neath  our  feet  broke  the  brittle  l)right  stubble  like  chaff; 

Till  over  by  Dalhem  a  dome-spire  sprang  white. 

And  "  Gallop,"  gasped  Joris,  "  for  Aix  is  in  sight !" 

"  How  they'll  greet  us !" — and  all  in  a  moment  his  roan 
Rolled  neck  and  croup  over,  lay  dead  as  a  stone ; 
And  there  was  my  Roland  to  bear  the  whole  weight 
Of  the  news  which  alone  could  save  Aix  from  her  fate, 
With  his  nostrils  like  pits  full  of  blood  to  the  brim, 
And  with  circles  of  red  for  his  eye-sockets'  rim. 

Tlien  I  cast  loose  my  buff  coat,  each  holster  let  fall, 
Shook  off  both  my  jack-boots,  let  go  belt  and  all. 
Stood  up  in  the  stirrup,  leaned,  patted  his  ear, 
(.'ailed  my  Roland  his  pet-name,  my  hoi'se  without  peer; 
Clapped  my  hands,  laughed  and  sang,  any  noise,  bad  or 

good. 
Till  at  length  into  Aix  Roland  galloped  and  stood. 


Othello's  apology.  209 

And  all  I  remember  is,  friends  flocking  round 
As  I  sate  with  his  head  'twixt  my  knees  on  the  ground, 
And  no  voice  but  was  praising  this  Roland  of  mine, 
As  I  poured  down  his  throat  our  last  measure  of  wine, 
Which  (the  burgesses  voted  by  common  consent) 
Was  no  more  than  his  due  who  brought  good  news  from 
Ghent.  Robert  Browning. 


OTHELLO'S  APOLOGY. 


MOST  potent,  grave,  and  reverend  seigniors  : 
My  very  noble,  and  approved  good  masters: 
That  I  have  ta'en  away  this  old  man's  daughter, 
It  is  most  true  ;  true,  I  have  married  her  : 
The  very  head  and  front  of  my  offending 
Hath  this  extent ;  no  more. 

Rude  am  I  in  speech, 
And  little  blessed  with  the  set  phrase  of  peace  : 
For  since  these  arms  of  mine  had  seven  years'  pith. 
Till  now  some  nine  moons  wasted,  they  have  used 
Their  dearest  action  in  the  tented  field  ; 
And  little  of  this  great  world  can  I  speak, 
More  than  ])ertains  to  feats  of  broils  and  battle  ; 
And  therefore,  little  shall  I  grace  my  cause, 
In  speaking  of  myself. 

Yet,  by  your  patience, 
I  will,  a  round,  unvarnished  tale  deliver. 
Of  my  whole  course  of  love  ;  what  drugs,  (vhat  charnw, 
Wliat  conjuration,  and  what  mighty  magic — 
For  such  proceedings  I  am  charged  witlial — 
I  won  his  daughter  with. 


210  TKACTICAL    ELOCUTION. 

Her  father  loved  me;  oft  invited  me; 
8till  que^jtioned  me  the  story  of  my  life, 
From  year  to  year:  the  battles,  sieges,  fortunes, 
Til  at  1  had  past. 

I  ran  it  through  e'en  from  my  boyish  days. 
To  the  very  moment  that  he  l)a(le  me  tell  it. 
Wherein  I  s])ake  of  most  disastrous  chances  ; 
Of  moving  accidents  by  flood  and  field  ; 
Of  hairbreadth  'scapes,  in  the  imminent  deadly  breach; 
Of  being  taken  by  the  insolent  foe. 
And  sold  to  slavery  ;  of  my  redemption  thence, 
And  with  it  all  my  travel's  history. 

All  these  to  hear. 
Would  Dcsdemona  seriously  incline  ; 
But  still  the  house  affairs  would  draw  her  thence. 
Which  ever  as  she  could  with  haste  dispatch. 
She'd  come  again,  and  Avith  a  greedy  ear, 
Devour  up  my  discourse.     Which,  I  observing. 
Took  once  a  pliant  hour,  and  found  good  means 
To  draw  from  her  a  prayer  of  earnest  heart. 
That  I  would  all  my  pilgrimage  dilate  ; 
Whereof  by  parcels,  she  had  something  heard, 
But  not  distinctly. 

I  did  consent ; 
And  often  did  beguile  her  of  her  tears. 
When  I  did  speak  of  some  distressful  stroke, 
That  my  youth  suffered.     My  story  being  done. 
She  gave  me  for  my  pains  a  world  of  sighs. 
She  swore  in  faith  't  Avas  strange,  't  was  passing  strange ; 
'T  was  pitiful  ;  't  Avas  Avondrous  pitiful ; 
She  Avished  she  had  not  heard  it ;  yet  she  Avished 
That  heaven  had  made  her  such  a  man. 


PAUL   BEFORE   KING   AGRIPPA.  211 

She  thanked  me, 
And  bade  me,  if  I  had  a  friend  that  loved  her, 
I  should  but  teach  him  how  to  tell  my  story. 
And  that  would  woo  her.     On  this  hint  I  sjDake ; 
She  loved  me  for  the  dangers  I  had  passed  ; 
And  I  loved  her  that  she  did  pity  them. 
This  is  the  only  witchcraft  which  I've  used. 

Shakespeare. 


PAUL  BEFORE  KING  AGRIPPA. 


THEN  Agrippa  said  unto  Paul,  Thou  art  permitted  to 
speak  for  thyself.  Then  Paul  stretched  forth  the  hand, 
and  answered  for  himself: 

I  think  myself  happy,  king  Agrippa,  because  I  shall 
answer  for  myself  this  day  before  thee  touching  all  the 
things  whereof  I  am  accused  of  the  Jews ;  especially  be- 
cause I  know  thee  to  be  expert  in  all  customs  and  questions 
which  are  among  the  Jews :  wherefore  I  beseech  thee  to 
hear  me  patiently. 

My  manner  of  life  from  my  youth,  which  was  at  the  first 
among  mine  own  nation  at  Jerusalem,  know  all  the  Jews ; 
which  knew  me  from  the  beginning,  if  they  would  testify, 
that  after  the  most  straitest  sect  of  our  religion  I  lived  a 
Pharisee.  And  now  I  stand  and  am  judged  for  the  hope 
of  the  promise  made  of  God  unto  our  fathers  :  unto  which 
promise  our  twelve  tribes,  instantly  serving  God  day  and 
night,  hope  to  come.  For  which  hope's  sake,  king  Agrippa, 
I  am  accused  of  the  Jews. 

AVhy  should  it  be  thought  a  thing  incredible  with  you, 
that  God  should  raise  the  dead  ?  I  verily  thought  with 
myself,  that  I  ought  to  do  many  things  contrary  to  the 


212  PRACTICAL   ELOCUTIOW. 

name  of  Jesus  of  Nazareth.  Which  thing  I  also  did  in 
Jerusalem  :  and  many  of  the  saints  did  I  shut  up  in  prison, 
having  received  authority  from  the  chief  priests ;  and  when 
they  were  put  to  death,  I  gave  my  voice  against  them. 
A.nd  I  punished  them  oft  in  every  synagogue,  and  com- 
|ielled  them  to  blaspheme ;  and  being  exceedingly  mad 
against  them,  I  persecuted  them  even  unto  strange  cities. 
Whereupon  as  I  went  to  Damascus  with  authority  and 
commission  from  the  chief  priests,  at  mid-day,  O  king,  I 
saw  in  the  way  a  light  from  heaven,  above  the  brightness 
of  the  sun,  shining  round  about  me  and  them  which  jour- 
neyed with  me.  And  when  we  Avere  all  fallen  to  the  earth, 
I  heard  a  voice  speaking  unto  me,  and  saying  in  the 
Hebrew  tongue,  Saul,  Saul,  why  persecutest  thou  me  ?  it  is 
hard  for  thee  to  kick  against  the  pricks. 

And  I  said,  Who  art  thou,  Lord?  And  He  said,  I  am 
Jesus  whom  thou  persecutest.  But  rise,  and  stand  upon 
thy  feet :  for  I  have  appeared  unto  thee  for  this  purpose, 
to  make  thee  a  minister  and  a  witness  both  of  these  things 
nhich  thou  hast  seen,  and  of  those  things  m  the  which  I 
will  appear  unto  thee  ;  delivering  thee  from  the  people,  and 
from  the  Gentiles,  unto  whom  now  I  send  thee,  to  open 
their  eyes,  and  to  turn  them  from  darkness  to  light,  and 
from  the  power  of  Satan  unto  God,  that  they  may  receive 
forgiveness  of  sins,  and  inheritance  among  them  which  are 
sanctified  by  faith  that  is  in  me. 

Whereupon,  O  king  Agrippa,  I  was  not  disobedient  unto 
the  heavenly  vision  :  but  showed  first  unto  them  of  Damas- 
cus, and  at  Jerusalem,  and  throughout  all  the  coasts  of  Ju- 
dea,  and  then  to  the  Gentiles,  that  they  should  repent  and 
lum  to  God,  and  do  works  meet  for  repentance.  For  these 
causes  the  Jews  caught  me  in  the  temple,  and  went  about 
to  kill  me.     Having  therefore  obtained  help  of  God,  I  con- 


NIGHTFALL.  213 

tinue  unto  this  day,  witnessing  both  to  small  and  great, 
saying  none  other  things  than  those  which  the  prophets  and 
Moses  did  say  should  come :  That  Christ  should  suffer,  and 
that  He  should  be  the  first  that  should  rise  from  the  dead, 
and  should  show  light  unto  the  people,  and  to  the  Gentiles. 

And  as  he  thus  spake  for  himself,  Festus  said  with  a  loud 
voice,  Paivl,  thou  art  beside  thyself;  much  learning  doth 
make  thee  mad.  But  he  said,  1  am  not  mad,  most  noble 
Festus ;  but  speak  forth  the  words  of  truth  and  soberness. 
For  the  king  knoweth  of  these  things,  before  whom  also  I 
speak  freely :  for  I  am  persuaded  that  none  of  these  things 
are  hidden  from  him ;  for  this  thing  was  not  done  in  a 
corner.  King  Agrippa,  believest  thou  the  prophets  ?  I 
know  that  thou  believest.  Then  Agrippa  said  unto  Paul, 
Almost  thou  persuadest  me  to  be  a  Christian. 

And  Paul  said,  I  would  to  God,  that  not  only  thou,  but 
also  all  that  hear  me  this  day,  Avere  both  almost,  and  alto- 
gether such  as  I  am,  except  these  bonds.  And  when  he 
had  thus  spoken,  the  king  rose  up,  and  the  governor,  and 
Bernice,  and  they  that  sat  with  them  :  and  when  they  Avere 
gone  aside,  they  talked  between  themselves,  saying.  This 
man  doeth  nothing  worthy  of  death  or  of  bonds.  Then 
said  Agrippa  unto  Festus,  This  man  might  have  been  set 
at  liberty,  if  he  had  not  appealed  unto  Csesar. — Bible. 


NIGHTFALL. 


ALONE  I  stand  ; 
On  cither  hand 
In  gathering  gloom  stretch  sea  and  land ; 
Beneath  my  feet. 
With  ceaseless  beat, 
The  waters  murmur  low  and  sweet. 


214  PRACTirAL  ELOCUTION. 

Slow  falls  the  night: 

The  tender  light 
Of  stai-s  grows  brighter  and  more  bright, 

The  lingering  ray 

Of  dying  day 
Sinks  deeper  down  and  fades  away. 

Now  fost,  now  slow, 
The  south  Avinds  blow  ; 

And  softly  whisper,  breathing  low ; 
With  gentle  grace 
They  kiss  my  face, 

Or  fold  me  in  their  cool  embrace. 

Where  one  pale  star 

O'er  waters  far, 
Droops  down  to  touch  the  harbor  bar, 

A  faint  light  gleams, 

A  light  that  seems 
To  grow  and  grow  till  nature  teems 

With  mellow  haze  ; 

And  to  my  gaze 
Comes  proudly  rising,  with  its  rays 

No  longer  dim. 

The  moon  ;  its  rim 
In  splendor  gilds  the  billowy  brim. 

I  watch  it  gain 
The  heavenly  plain ; 

Behind  it  trails  a  starry  train — 
While  low  and  sweet 
The  wavelets  beat 

Their  murmuring  music  at  my  feet. 


Catiline's  defiance.  215 

Fair  night  of  June  ! 

Yon  silver  moon 
Gleams  pal 3  and  still.     The  tender  tune, 

Faint-floating,  plays, 

In  moonlit  lays, 
A  melody  of  other  days. 

'Tis  sacred  ground ; 

A  peace  profound 
Comes  o'er  my  soul.     I  hear  no  sound, 

Save  at  my  feet 

The  ceaseless  beat 
Of  waters  murmuring  low  and  sweet. 

W.  W.  Ellsworth. 


CATILINE'S  DEFIANCE. 


CONSCRIPT  Fathers: 
I  do  not  rise  to  waste  the  night  in  words; 
Let  that  Plebeian  talk,  'tis  not  my  trade  ; 
But  here  I  stand  for  right — ^let  him  show  proofs — 
For  Roman  right,  though  none,  it  seems,  dai'c  stand 
To  take  their  share  with  me.     Ay,  cluster  there  ! 
Cling  to  your  master,  judges,  Romans,  slaves  ! 
His  charge  is  false  ; — I  dare  him  to  his  j)roofs. 
You  have  my  answer.     Let  my  actions  speak  ! 

But  this  I  will  avow,  that  I  have  scorn'd, 
And  still  do  scorn,  to  hide  my  sense  of  wrong. 
Who  brands  me  on  the  forehead,  breaks  my  sword, 
Or  lays  the  bloody  scourge  u])on  my  back, 
Wrongs  me  not  half  so  much  as  ke  who  shuts 


216  PRACTICAL   ELOCUTION. 

The  gates  of  honor  on  me, — turning  out 

The  Roman  from  his  birthright ;  and  for  what  ? 

To  tling  your  offices  to  every  slave  ! 

Vipers,  that  ereep  where  man  disdains  to  climb, 

And,  having  wound  their  loathsome  track  to  the  top 

Of  this  huge,  nioldering  monument  of  Rome, 

Hang  hissing  at  the  nobler  man  below.         [To  the  Seriate, 

Come,  consecrated  Lictors,  from  your  thrones  ; 
Fling  down  your  sceptres;  take  the  rod  and  axe, 
And  make  the  murder  as  you  make  the  law. 

Bauish'd  from  Rome !  What's  banish'd  but  set  free 
From  daily  contact  of  the  things  I  loathe  ? 
"  Tried  and  convicted  traitor  !"     Who  says  this  ? 
Who'll  prove  it,  at  his  peril,  on  my  head  ? 
Banish'd!     I  thank  you  for't :  it  breaks  my  chain.' 
I  held  some  slack  allegiance  till  this  hour  ; 
But  now  my  sword's  my  own.     Smile  on,  my  Lords  I 
I  scorn  to  count  what  feelings,  wither'd  hopes, 
Strong  provocations,  bitter,  burning  wrongs, 
I  have  within  my  heart's  hot  cells  shut  up, 
To  leave  you  in  your  lazy  dignities. 
But  here  I  stand  and  scoff  you!  here  I  fling 
Hatred  and  full  defiance  in  your  fiice  ! 
Your  Consul's  merciful ;  for  this  all  thanks. 
He  dares  not  touch  a  hair  of  Catiline  ! 

"  Traitor !"     I  go  ;  but,  I  return  !     This— trial ! 
Here  I  devote  your  Senate  !     I've  had  wrongs 
To  stir  a  fever  in  the  blood  of  age. 
Or  make  the  infant's  sinews  strong  as  steel. 
This  day's  the  birth  of  sorrow  ;  this  hour's  work 


THE   HONORED   DEAD.  217 

Will   breed   proscriptions !     Look   to   your  hearths,   my 

Lords  ! 
For  there,  henceforth,  shall  sit,  for  household  god«, 
Shapes  hot  from  Tartarus  ;  all  shames  and  crimes ; 
Wan  Treachery,  with  his  thirsty  dagger  drawn ; 
Suspicion,  poisoning  his  brother's  cup ; 
Naked  Rebellion,  with  the  torch  and  axe, 
Making  his  wild  sport  of  your  blazing  thrones ; 
Till  Anarchy  comes  down  on  you  like  night, 
And  Massacre  seals  Rome's  eternal  grave. 

I  go  ;  but  not  to  leap  the  gulf  alone. 
I  go  ;  but  when  I  come,  'twill  be  the  burst 
Of  ocean  in  the  earthquake — rolling  back 
In  swift  and  mountainous  ruin.     Fare  you  well ! 
You  build  my  funeral  pile  ;  but  your  best  blood 
Shall  quench  its  flame !  George  Croly. 


THE  HONORED  DEAD. 


HOW  bright  are  the  honors  which  await  those  who, 
with  sacred  fortitude  and  patriotic  patience,  have 
endured  all  things  that  they  might  save  their  native  land 
from  division  and  from  the  power  of  corruption  !  The 
honored  dead  !  They  that  die  for  a  good  cause,  are  re- 
deemed from  death.  Their  names  are  gathered  and  gar 
nered.  Their  memory  is  precious.  Each  i)lace  grows 
proud  for  them  who  were  born  there.  There  is  to  be  ei'e 
long,  in  every  village  and  in  every  neighborhood,  a  glow- 
ing pride  in  its  martyred  heroes. 

Tal)lets  shall  preserve  their  names.     Pious    love  shall 
renew  their  inscriptions  as  time  and  the  unfeeling  elements 
decay  them.     And  the  national  festivals  shall  give  multi- 
10 


218  PRACTICAL   EI.OCUTIOMT. 

tiuics  ol'  precious  iiaiiK's  to  the  orator's  lips.  Cliildren 
shall  grow  up  uiHltr  mure  sacred  inspirations,  whose 
elder  brothers,  dyin.L^  nobly  for  their  country,  lefl  a  name 
that  honored  and  inspired  all  who  bore  it.  Orphan  chil- 
dri'n  shall  iind  thousands  of  fiithers  and  mothers  to  love 
and  help  those  whom  dying  heroes  left  as  a  legacy  to  the 
gratitude  of  the  public. 

O,  tell  me  not  that  they  are  dead, — that  generous  host, 
that  airy  army  of  invisible  heroes  !  They  hover  as  a  cloud 
of  witnesses  above  this  nation.  Are  they  dead  that  yet 
speak  louder  than  we  can  speak,  and  in  a  more  universal 
language  ?  Are  they  dead  that  yet  act  ?  Are  they  dead 
that  yet  move  upon  society,  and  inspire  the  people  with 
nobler  motives  and  more  heroic  patriotism  ? 

Ye  that  mourn,  let  gladness  mingle  with  your  teai*s. 
He  was  your  son  ;  but  now  he  is  the  nation's.  He  made 
your  household  bright  ;  now  his  example  inspires  a 
thousand  households.  Dear  to  his  brothers  and  sisters,  he 
is  now  brother  to  every  generous  youth  in  the  land. 

Before,  he  was  narrowed,  approj)riated,  shut  up  to  you. 
Now  he  is  augmented,  set  free,  and  given  to  all.  He  has 
died  from  the  family  that  he  might  live  to  the  nation. 
Not  one  name  shall  be  forgotten  or  neglected  :  and  it  shall 
by  and  by  be  confessed,  as  of  an  ancient  hero,  that  he  did 
more  for  his  country  by  his  death  than  by  his  whole  life. 

Every  mountain  and  hill  shall  have  its  trea.sured  name  ; 
every  river  shall  keep  some  solemn  title  ;  every  valley  and 
every  lake  shall  cherish  its  honored  register  ;  and  till  the 
nifjuntains  are  woni  out,  and  the  rivers  forget  to  flow,  till  the 
clouds  are  weary  of  replenishing  s])rings,  and  the  springs 
forget  to  gush,  and  the  rills  to  sing,  shall  their  names  be 
kept  fresh  with  reverent  honors  which  are  inscribed  upon  the 
book  of  National  Kemembrance  !  H.  W.  Beechek. 


THE   VOICE   IN   THE   TWILIGHT. 


219 


THE  VOICE  m  THE  TWILIGHT. 

I  WAS  sittins;  alone  toward  the  twiligLt, 
With  spirit  troubled  and  vexed, 
With  thoughts  that  were  morbid  and  gloomy, 
And  faith  that  was  sadly  perplexed. 

Some  homely  work  I  was  doing 
For  the  child  of  my  love  and  care, 

Some  stitches  half  wearily  setting 
lu  the  endless  need  of  repair. 

But  my  thoughts  were  about  the  "  building," 
The  work  some  day  to  be  tried ; 

And  that  only  the  gold  and  the  silver, 
And  the  precious  stones  should  abide. 

And  remembering  my  own  poor  efforts, 
The  wretched  work  I  had  done. 

And,  even  when  trying  most  truly, 
The  meagre  success  I  had  won ! 

«  It  is  nothing  but  wood,  hay,  and  stubble," 
I  said  :  "  It  will  all  be  burned— 
This  useless  fruit  of  the  talents 
One  day  to  be  returned. 

"  And  I  have  so  longed  to  serve  Him, 
And  sometimes  I  know  T  have  tried  ; 
But  I  am  sure  when  Ho  sees  such  building, 
He  will  never  let  it  abide." 


220  PRACTICAL    ELOCUTFON. 

Just  then,  as  1  tunit'd  the  garment, 
That  no  rent  shoiikl  be  left  behind, 

My  eyes  caiij;ht  an  odd  little  bungle 
Of  mending  and  i)ateli\V()rk  combined. 

My  heart  grew  suddenly  tender, 
And  something  blinded  my  eyes 

With  one  of  those  sweet  intuitions 
That  sometimes  makes  us  so  wise. 

Dear  child,  she  wanted  to  help  me ; 

I  knew  't  was  the  best  she  could  do ; 
But  oh,  what  a  botch  she  had  made  it — 

The  gray  mismatching  the  blue ! 

And  yet — can  you  understand  it  ? — 
With  a  tender  smile  and  a  tear, 

And  a  half-compassionate  yearning, 
I  felt  her  grown  more  dear. 

Then  a  sweet  voice  broke  the  silence, 
And  the  dear  Lord  said  to  me, 
"  Art  thou  tenderer  for  the  little  child 
Than  I  am  tender  for  thee  ?" 

Then  straightway  I  knew  His  meaning, 
So  full  of  com])assion  and  love, 

And  my  faith  came  Ixick  to  its  Refuge, 
Like  the  glad  returning  dove. 

For  I  thought  Avhen  the  ]\Iaster  Builder 
Comes  down  His  temple  to  view, 

To  see  what  rents  must  be  mended. 
And  what  must  be  builded  anew; 


THE   VOICE   IN   THE   TWILIGHT.  221 

Perhaps,  as  He  looks  o'er  the  building, 
He  will  bring  my  work  to  the  light. 

And  seeing  the  marring  and  bungling. 
And  how  far  it  all  is  from  right — 

He  will  feel  as  I  felt  for  my  darling, 
And  will  say  as  I  said  for  her, 
"  Dear  child,  she  wanted  to  help  me, 
And  love  for  me  was  the  spur, 

"  And  for  the  real  love  that  is  in  it. 

The  work  shall  seem  perfect  as  mine; 
And  because  it  was  willing  service, 
I  will  crown  it  with  plaudit  divine." 

And  there  in  the  deepening  twilight 

I  seemed  to  be  clasping  a  Hand, 
And  to  feel  a  great  love  constraining  me, 

Stronger  than  any  command. 

Then  I  knew  by  the  thri41  of  sweetness 
'Twas  the  hand  of  tlie  Blessed  One, 

Which  would  tenderly  guide  and  hold  me, 
Till  all  the  labor  is  done. 

So  my  thoughts  are  nevermore  gloomy, 

My  faith  no  longer  is  dim  ; 
But  my  heart  is  strong  and  restful, 

Aud  my  eyes  are  unti)  Him. 

Miis.  Hekhick  Johnson. 


222  PRACTICAL   ELOCUTIOX. 


THE  BOYS. 


This  selection  is  a  poem  addressed  to  the  class  of  1829,  in  Harvarfl  College, 
Bome  thirty  year^  after  tlieir  Kriduatioii.  The  authur,  who  retains,  in  a  hi^h 
degree,  the  freshness  and  joyousness  of  youth,  addresses  his  classmates  as 
"  boys." 

HAS  there  any  old  fellow  irot  mixed  witli  the  l)oys  ? 
If  there  has,  take  him  out,  without  makin<r  a  noise. 
Hang  the  almanac's  cheat  and  the  catalogue's  spite 
Old  Time  is  a  liar  !  we're  twenty  to-night ! 

We're  twenty  !  We're  twenty  !  Who  says  we  are  more  ? 
He's  tipsy, — young  jackanapes  ! — show  him  tlie  door ! 
"  Gray  temples  at  twenty  ?" — Yes !  white  if  we  please  ; 
Where  the  snow-flakes  fall  tliickest  there's  nothing  can 
freeze ! 

Was  it  snowing  I  spoke  of?     Excuse  the  mistake ! 
Look  close, — you  will  see  not  a  sign  of  a  flake  ! 
We  want  some  new  garlands  for  those  we  have  shed, 
And  these  are  white  roses  in  place  of  the  red. 

We've  a  trick,  we  young  fellows,  you  may  have  been  told, 
Of  talking  (in  public)  as  if  we  were  (jld  ; 
That  boy  we  call  "  Doctor,"  and  this  we  call  "  Judge  ;" 
It's  a  neat  little  fi(;ti(jii — -of  course  it's  all  fudge. 

That  fellow's  the  "  Speaker,"  the  one  on  the  right ; 
"  Mr.  Mayor,"  my  young  one,  how  are  you  to-night  ? 
That's  our  "Member  of  Congress,"  we  say  when  we  chaff"; 
There's  the  "  Reverend  " — wliat's  his  name  ? — d(m't  make 
me  laugh. 

That  boy  with  the  grave  mathematical  look 
Made  believe  he  had  written  a  wonderful  book, 


MASTERS   OF   THE   SITUATION.  223 

And  the  Royal  Society  thought  it  was  true  ! 

So  they  chose  him  right  in, — a  good  joke  it  was  too  ! 

There's  a  boy  we  jn-etend,  with  a  three-decker  brain, 

That  could  harness  a  team  with  a  logical  chain  ; 

When  he  spoke  for  our  manhood  in  syllal)Ied  fire, 

We  called  him  "  The  Justice,"  but  now  he's  the  "  Squire," 

And  there's  a  nice  youngster  of  excellent  pith  ; 
Fate  tried  to  conceal  him  by  naming  him  Smith  ; 
But  he  shouted  a  song  for  the  brave  and  the  free, — 
Just  read  on  his  medal,  "  My  country,"  "  of  thee  !" 

You  hear  that  boy  laughing  ?     You  think  lie's  all  fun ; 
But  the  angels  laugli,  too,  at  the  good  lie  has  done  ; 
The  children  laugh  loud  as  they  troop  to  his  call, 
And  the  poor  man  that  knows  him  laughs  loudest  of  all ! 

Yes,  we're  boys, — always  playing  with  tongue  or  with  pen  j 
And  I  sometimes  have  asked,  Shall  we  ever  be  men  ? 
Shall  we  always  be  youthful,  and  laughing,  and  gay, 
Till  the  last  dear  comjianion  drops  smiling  away  ? 

Then  here's  to  our  boyhood,  its  gold  and  its  gray ! 
The  stars  of  its  winter,  the  dews  of  its  May ! 
And  when  Ave  have  done  with  our  life-lasting  toys. 
Dear  Father,  take  care  of  Thy  children.  The  Boys  ! 

O.  W.  Holmes. 


MASTERS  OF  THE  SITUATION. 


A  GREAT  mastery— like  that  of  Wellington  or  Bis- 
marck— is  not  so  common  in  the  world  as  to  excite 
no  surprise.  True  mastery  is  compact  of  supreme  {juali- 
ties.     It  is  heroism  ;  it  is  culture  ;  it  is  enthusiasm ;  it  is 


224  PRAcrroAi.  elocution.  » 

faith;  it  is  intelligence;  it  is  endurance;  it  is  unconquer- 
able will.  There  are  men  of  conviction  whose  very  face* 
will  light  up  an  era.  And  there  are  noble  women  ia  whose 
eyes  you  may  almost  read  the  whole  ])lan  of  salvation. 

Insight,  foresight,  and  knowledge  are  what  the  world 
demands  of  a  great  leader — men  who  have  power  to  trans- 
mute calamity  into  greatness.  To  a  real  commander 
nothing  exists  which  cannot  be  overcome.  "Sir,"  said 
]\Iirabeau's  secretary,  "  what  you  require  is  impossible." 
*'  Impossible  !"  cried  Mirabeau,  "  never  name  to  me  again 
that  blockhead  of  a  word." 

If  any  man  was  ever  master  of  the  situation,  from  his 
boundless  knowledge,  abundant  language,  instantaneous 
ap])rehension,  and  undaunted  speech,  it  was  Edmund 
BurKe.  The  vastness  of  his  attainments  and  the  im- 
mensity of  his  varied  powers  startled  his  great  contempo- 
raries into  admiration.  Goldsmith,  Windham,  Pitt,  and 
others  have  left  on  record  eloquent  testimony  to  the  superi- 
ority of  Burke's  genius,  and  the  striking  fact  that  he  was 
the  best  informed  man  of  his  time.  Did  this  great  states- 
man lounge  carelessly  into  all  this  reputation  ?  Did  he 
rely  solely  upon  his  genius  to  bring  him  into  parliament,  to 
continue  that  long  and  brilliant  career  which  is  part  of 
English  history  ?  Never  for  a  moment  did  he  trust  to  his 
genius.  See  hira  at  the  top  of  his  high  fame,  elaborating 
every  speech,  every  sentence  he  wrote,  Avith  the  most  stu- 
dious care — studious  and  exhaustive  care. 

All  great  leaders  have  been  inspired  with  a  great  belief 
In  nine  cases  out  of  ten  failure  is  born  of  unfaith.  There 
is  a  faith  so  expansive  and  a  hope  so  elastic  that  a  man 
having  them  will  keep  on  believing  and  hoping  till  all 
danger  is  past  and  victory  is  sure.  Such  a  man  was  CyruM 
Field,  who  spent  so  many  years  of  his  life  in  perfecting  a 


MASTERS   OF   THE   SITUATION.  225 

communication  second  only  in  importance  to  the  discovery 
of  this  country.  It  was  a  long,  hard  struggle.  Thirteen 
years  of  anxious  watching  and  ceaseless  toil  were  his. 
Think  what  that  enthusiast  accomplished  by  his  untiring 
Giiergy.  He  made  fifty  voyages  across  the  Atlantic.  And 
when  everything  looked  darkest  for  his  enterprise,  his 
courage  never  flagged  for  an  instant.  Think  of  him  in 
those  gloomy  periods  pacing  the  decks  of  ships  on  dark, 
stormy  nights,  in  mid-ocean,  or  wandering  in  the  desolate 
forests  of  Newfoundland  in  pelting  rains,  comfortless  and 
forlorn.  Public  excitement  had  grown  wild  over  the  mys- 
eterious  workings  of  those  flashing  wires.  And  when  the 
first  cable  ceased  to  throb,  the  reaction  was  intense.  Stock- 
holders and  the  public  grew  exasperated  and  suspicious ; 
unbelievers  sneered  at  the  whole  project  and  called  the  tel- 
egraph a  stupendous  hoax.  At  last  day  dawned  again, 
and  another  cable  was  paid  out.  Twelve  hundred  miles  of 
it  were  laid  down,  and  the  ship  was  just  lifting  her  head  to 
a  stiff  breeze,  when,  without  a  moment's  warning,  the  cable 
suddenly  snajDped  short  off  and  plunged  into  the  sea. 
Field  returned  to  England  defeated.  But  his  energy  was 
even  greater  than  before.  In  five  months,  by  the  blessing 
of  Heaven,  another  cable  Avas  stretched  from  continent  to 
continent. 

Then  came  that  never-to-be-f )rgotten  search  in  fi)iir 
ships  for  the  lost  cable.  In  the  bow  of  one  of  these  ships 
stood  Cyrus  Field  day  and  night,  in  storm  and  fog,  in 
squall  and  calm,  intently  watching  the  (juiver  of  the  grap- 
nel that  was  dragging  two  miles  down  on  tlie  bottom 
of  the  deep.  The  sjjirit  of  this  brave  man  was  rewarded. 
All  felt  as  if  life  and  dcatli  hung  on  the  issue.  It  was 
only  when  the  cable  was  l)n)uglit  over  the  bow  and  on  the 
deck  that  men  dared  to  breathe.  Even  then  they  hardly 
10* 


226  PRACTICAL   ELOCUTIOir. 

(lolievcd  their  eyes.  Some  crept  toward  it  to  see,  feel  of  it, 
ti)  be  sure  it  was  there.  Then  they  curried  it  along  to  the 
electrician's  room,  to  see  if  the  long-sought  treasure  was 
alive  or  dead.  A  few  minut'AS  of  sus])ense,  and  a  Hash  told 
tif  the  lightning  current  again  set  free.  Some  turned  away 
and  Avept,  others  broke  into  cheers,  and  the  cry  ran  from 
ship  to  ship,  while  rockets  lighted  up  the  darkness  of  the 
sea. 

With  thankful  hearts  they  turned  their  faces  again  to 
the  west ;  but  soon  the  wind  rose,  and  for  thirty-six  hours 
they  were  exposed  to  all  the  dangei's  of  a  storm  on  the 
Atlantic.  Yet  in  the  very  height  and  fury  of  the  gale  a 
flash  of  light,  which  having  crossed  to  Ireland  returned  to 
them  in  mid-ocean,  telling  them  that  the  friends  whom 
they  had  left  behind  on  the  banks  of  the  Hudson  were 
well,  and  following  them  with  their  Avishes  and  their 
prayers.  This  was  like  the  whisper  of  God  from  the  sea, 
bidding  them  kee})  heart  and  hope. 

And  now  after  all  those  thirteen  years  of  almost  super- 
human struggle,  and  that  one  moment  of  almost  superhu- 
man victory,  we  may  safely  include  Cyrus  W.  Field  among 
the  masters  of  the  situation.  James  T.  Field. 


KENTUCKY  BELLE. 


SUMMER   of  'sixty-three,  sir,   and    Conrad   Avas   gone 
aAvay — 
Gone   to  the  county-town,  sir,  to   sell  our   first  load  of 

hay — 
We  lived  in  the  log-house  yonder,  poor  as   ever  you've 

seen  ; 
Roschen  there  Avas  a  baby,  and  I  A\'as  only  nineteen. 


KENTUCKY   BELLK  227 

Conrad,  he  took  the  oxen,  but  he  left  Kentucky  Belle ; 
How  much  we  thought  of  Kentuck,  I  couldn't  begin  to 

tell— 
Came  from  the  Blue-Grass  country ;  my  father  gave  her  to 

me 
When  I  rode  North  with  Conrad,  away  from  the  Tennessee. 

Conrad  lived  in  Ohio — a  German  he  is,  you  know — 

The  house  stood  in   broad  corn-fields,  stretching  on,  row 

after  row : 
Tiie  old  folks  made  me  welcome ;  they  were  kind  as  kind 

could  be ; 
But  I  kept  longing,  longing,  for  the  hills  of  the  Tennessee. 

O,  for  a  sight  of  water,  the  shadowed  slope  of  a  hill ! 
Clouds  that  hang  on  the  summit,  a  wind  that  never  is  still ! 
But  the  level  land  went  stretching  away  to  meet  the  sky — 
Never  a  rise,  from  north  to  south,  to  rest  the  weary  eye ! 

From  east  to  west,  no  river  to  shine  out  under  the  moon, 
Nothing  to  make  a  shadow  in  the  yellow  afternoon ; 
Only  the  breathless  sunshine,  as  I  looked  out,  all  forlorn ; 
Only  the  "  rustle,  rustle,"  as  I  walked  among  the  corn. 

When  I  fell  sick  with  pining,  we  didn't  wait  any  more, 
But   moved  away  from  the  corn-lands   out  to  this  river 

shore — 
The  Tuscarawas  it's  called,  sir — off  there's  a  lull,  you  see — 
And  now  I've  grown  to  like  it  next  best  to  the  Tennessee. 

I  was  at  work  that  morning.  Some  one  came  riding  like  mad 
Over  the  bridge  and  up  the  road — Fanner  Kouf 's  little  lad: 
Bareback  he  I'ode  ;  he  had  no  hat;  he  hai-dly  stoppe<l  to  say, 
"Morgan's  men  are  coming,  Frau  ;  they're  galloping  on 
this  way. 


228  PRACTICAL    ELOCUTION. 

"I'm  sent  to   warn  the  neighbors.     He  isn't  a  mile  bo 

liiud ; 
He  sweeps  up  all  the  horses — every  horse  that  he  can  find 
Morgan,  ^lorgan  the  raider,  and  j\Iorgan"s  terrible  men. 
With  bowie-knives  and  pistols,  are  galloping  up  the  glen." 

The  lad  rode  down  the  valley,  and  I  stood  still  at  the  door  ; 
The  baby  laughed  and  prattled,  j)laying  with  spools  on  the 

floor ; 
Kentuck  was  out  in  the  pasture  ;  Conrad,  my  man,  waa 

gone : 
Near,  nearer  Morgan's  men  were  galloping,  galloping  on! 

Sudden  I  picked  up  baby,  and  ran  to  the  pasture-bar : 

"  Kentuck !"  I  called  ;  "  Kentucky  !"  She  knew  me  ever  so 

for! 
I  led  her  down  the  gully  that  turns  off  there  to  the  right, 
And  tied  her  to  the  bushes  ;  her  head  was  just  out  of  sight. 

As  I  ran  back  to  the  log-house,  at  once  there  came  a 

sound — 
The  ring  of  hoofs,  galloj)ing  hoofs,  trembling  over   the 

ground — 
Coming  into  the   turnpike  out  from  the  White-Woman 

Glen— 
Morgan,  Morgan  the  raider,  and  Morgan's  terrible  men. 

As  near  they  drew  and   nearer,  my  heart  beat   fast  in 

alarm ; 
But  still  I  stood  in  the  doorway,  with  baby  on  my  arm. 
They  came  ;   they  passed ;    with  spur  and   whip  in  haste 

they  sped  along — 
Morgan,  Morgan  the  raider,  and  his   band  six  hundred 

stronof. 


KENTUCKY    BELLE.  229 

Weary  they  looked  and  jaded,  riding  through  night  and 

tlirough  day  ; 
Pushing  on  East  to  the  river,  many  long  miles  away, 
To  the  border-strip  where  Virginia  runs  up  into  the  West, 
And  ford  the  Ujiper  Ohio  before  they  could  stop  to  rest. 

On   like   the   wind   they   hurried,  and   Morgan    rode   in 

advance : 
Bright  were  his   eyes  like  live  coals,  as  he  gave  me   a 

sideways  glance  ; 
And  I  was  just  breathing  freely,  after  my  choking  pain. 
When  the  last  one  of  the  troopers  suddenly  drew  his  rein. 

Frightened  I  was  to  death,  sir  ;  I  scarce  dared  look  in  his 

face, 
As  he  asked  for  a  drink  of  watei,  and  glanced  around  the 

place : 
I  gave  him  a  cup,  and  he  smiled— 'twas  only  a  boy,  you 

see ; 
Faint  and  w^orn,  w^ith  dim  blue  eyes  ;  and  he'd  sailed  on 

the  Tennessee. 

Only  sixteen  he  was,  sir — a  fond  mother's  only  son — 
Off  and  away  with  Morgan  before  his  life  had  begun ! 
The  damp  drops  stood  on  his  temples ;    drawn  was  the 

boyish  mouth ; 
And  I  thought  me  of  the  mother  waiting  down  in  tlie 

South  ! 

O,  pluck  was  he  to  the  backbone,  and  clear  grit  through 

and  through  ; 
Boasted  and  bragged  like  a  trooper;   but  the  big  worda 

wouldn't  do ; 
The  boy  was  dying,  sii-,  dying,  as  plain  as  plain  could  be, 
Worn  out  by  his  ride  with  Morgan  up  from  the  Tennessee. 


230  PRACTICAL    ELOCUTIOK. 

But,  when  I  told  the  huhlie  that  I  too  was  from  the  South, 
Water  came  in  his  dim  eyes,  and  (|uivers  around  ids  mouth; 
"  Do  you  know  tlie  lilue-Grass  country  T  lie  wistful  hcgan 

to  say ; 
Then  swaye<l  like  a  willow  saplini,',  and  fainted  dead  away, 

I  had  him  into  tlie  loj^-house,  and  worked  and  hronght  him 

to  ; 
I  fed  him,  and  coaxed  him,  as  I  thought  his  mother'd  do; 
And,  when  the  lad  got  better,  and  the  noise  in  his  head  was 

gone, 
Morgan's  men  were  miles  away,  galloping,  galloping  on. 

"  0, 1  must  go,"  he  muttered  ;  "  I  must  be  up  and  away ! 
Morgan,  Morgan  is  waiting  for  me  !     O,  what  will  Morgan 

say?" 
But  I  heard  a  sound  of  tramping,  and  kept  lum  back  from 

the  door — 
The  ringing  sound  of  horses'  hoofs  that  I  had  heard  before. 

And  on,  on  came  the  soldiers — the  Michigan  cavalry — 
And   fast   they  rode,  and    black   they  looked,   galloping 

rapidly  : 
They  had  followed   hard  on   Morgan's  track ;    they  had 

followed  day  and  night ; 
But  of  Morgan    and    Morgan's   raiders   they  had   never 

caught  a  sight. 

And  rich  Ohio  sat  startled  through  all  those  summer  days; 
For  strange,  wild  men  were  galloping  over  her  broad  high- 

Avays ; 
Now  here,  now  there,  uov\'  seen,  now  gone,  now  north,  now 

east,  now  west. 
Through  river-valleys  and  corn-land  farms,  sweeping  away 

U«r  best. 


KENTUCKY   BELLE.  231 

A  bold  ride  and  a  long  ride !  But  they  were  taken  at  last : 
They  almost  reached  the  river  by  galloping  hard  and  fast ; 
But  the  boys  in  blue  were  upon  them  ere  ever  they  gained 

the  ford, 
And  Morgan,  Morgan  the  raider,  laid  down  his  terriblo 

sword. 

Well,  I  kept  the  boy  till  evening — kept  him  against  his 

will- 
But  he  was  too  weak  to  follow,  and  sat  there  pale  and  still: 
When  it  was  cool  and  dusky — you'll  wonder  to  hear  me 

tell- 
But  I  stole  down  to  that  gully,  and  brought  'up  Kentucky 

Belle. 

I  kissed  the  star  on  her  forehead — my  pretty,  gentle  lass- 
But  I  knew  that  she'd  be   happy  back  in  the  old  Blue- 
Grass  : 
A  suit  of  clothes  of  Conrad's,  with  all  the  money  I  had, 
And  Kentuck,  pretty  Kentuck,  I  gave  to  the  worn-out  lad. 

I  guided  him  to  the  southward  as  well  as  I  knew  how  : 
The  boy  rode  off  with  many  thanks,  and  many  a  backAvard 

bow  ; 
And  then  the  glow  it  faded,  and  my  heart  began  to  swell. 
As  down  the  glen  away  she  went,  my  lost  Kentucky  Belle! 

When  Conrad  came  in  the  evening,  the  moon  wa.s  shining 

high , 
Baby  and  I  were  both  crying — I  couldn't  tell  him  why — 
But  a  battered  suit  of  rebel  gray  was  hanging  on  the  wall. 
And  a  thin  old  horse  with  drooping  bead  stood  in  Ken- 
tucky's stall. 


232  PRACTICAL    ELOCUTION. 

Well,  he  was  kind,  and  never  once  said  a  hard  word  to  me. 
He  knew  I  couldn't  help  it — 'twas  all  for  the  Tennessee: 
But,  after  the  war  was  over,  just  think  what  oaine  to  pass — 
A  letter,  sir ;  and  the  two  were  safe  buck  in  the  old  Blue- 
Grass. 

The  lad  had  got  across  the  hordcr,  riding  Kentucky  Belle  ; 
And  Kentuck  she  was  thriving,  and  fat,  and  hearty,  and 

well ; 
He  cared  for  her,  and  kept  her,  nor  touched  her  with  whip 

or  spur : 
Ah  1  we've  had  many  horses,  but  never  a  horse  like  her  S 
Constance  Fenimore  Woolson. 


TRUST. 


I  KNOW  not,  if  dark  or  bright 
Shall  be  my  lot ; 
If  that  wherein  my  hopes  delight 
Be  best  or  not. 

It  may  be  mine  to  drag  for  years 

Toil's  heavy  chain, 
Or  day  or  night  my  meat  be  tears, 

Ou  bed  of  ])ain. 

Dear  faces  may  surround  my  hearth 

With  smiles  and  glee, 
Oi'  I  may  dwell  ahjne,  and  miith 

Be  strange  to  me. 

My  bark  is  wafted  from  the  strand 

By  breath  Divine, 
And  on  the  helm  there  rests  a  hand 

Other  than  mine. 


THE   LOSS   OF   THE   ARCTIC.  233 

One  who  has  known  in  storms  to  sail 

I  have  on  board  ; 
Above  the  raging  of  the  gale 

I  have  my  Lord. 

He  holds  me  when  the  billows  smite — 

I  shall  not  fall ; 
If  sharp,  'tis  short — if  long,  'tis  light — 

He  tempers  all. 

Safe  to  the  land  !    Safe  to  the  land ! 

The  end  is  this — 
And  then  with  Him  go  hand  in  hand 

Far  into  bliss. 

Dean  Alford. 


THE  LOSS  OF  THE  ARCTIC. 


IT  was  autumn.  Hundreds  had  wended  their  way  from 
pilgrimages ; — from  Rome  aud  its  treasures  of  dead 
art,  and  its  glory  of  living  nature  ;  from  the  side  of  the 
Switzer's  mountains,  and  from  the  capitals  of  various 
nations — all  of  them  saying  in  their  hearts,  we  will  wait 
for  the  September  gales  to  have  done  with  their  equinoctial 
fury,  and  then  we  will  embark  ;  we  will  slide  across  tlie 
appeased  ocean,  and  in  the  gorgeous  month  of  Octolx^r  wo 
will  greet  our  longed-for  native  land,  and  our  licai't-loved 
homes. 

And  so  the  throng  streamed  along  from  Berlin,  frotn  l^iris, 
from  the  Orient,  converging  upon  London,  still  hastening 
toward  the  welcome  ship,  and  narrowing  every  day  tlie  circle 
of  engagements  and  preparations.     They  crowded  aboard. 


234  PRACTICAL  ELOCUTIOir. 

Never  had  the  Arctic  borne  such  a  host  of  passengers,  nor 
p:L-«»enger.s  so  nearly  rehited  to  so  many  of  us.  The  houi 
was  come.  The  signal-ball  fell  at  Greenwich.  It  was 
noon  also  at  Liverpool.  The  anchoi-s  were  weighed  ;  the 
great  hull  swayed  to  the  current ;  the  national  colors 
streamed  above,  as  if  themselves  instinct  with  life  and 
national  sympathy.  The  bell  strikes  ;  the  wheels  revolve; 
the  signal-gun  beats  its  echoes  in  upon  every  structure  along 
the  shore,  and  the  Arctic  glides  joyfully  forth  from  the 
Mersey,  and  turns  her  prow  to  the  winding  channel,  and 
begins  her  homeward  run.  The  pilot  stood  at  the  wheel, 
and  men  saw  him.  Death  sat  upon  the  prow,  and  no  eye 
beheld  him.  Whoever  stood  at  the  wheel  in  all  the  voyage. 
Death  was  the  pilot  that  steered  the  craft,  and  none  knew 
it.  He  neither  revealed  his  presence,  nor  wliisjiered  his 
errand. 

And  so  hope  was  effulgent,  and  lithe  gayety  disported 
itself,  and  joy  was  with  every  guest.  Amid  all  the  incon- 
veniences of  the  voyage,  there  was  still  that  which  hushed 
every  murmur, — "  Home  is  not  far  away."  And  every 
morning  it  was  still  one  night  nearer  home !  Eight 
days  had  passed.  They  beheld  that  distant  bank  of  mist 
that  forever  haunts  the  vast  shallows  of  Newfoundland. 
Boldly  they  made  it ;  and  plunging  in,  its  pliant  wreaths 
wrapped  them  about.  They  shall  never  emerge.  The  last 
sunlight  has  fla.shed  from  that  deck.  The  last  voyage  is 
done  to  ship  and  passengers.  At  noon  there  came  noise- 
lessly stealing  from  the  north  that  fated  instrument  of  de- 
struction. In  that  mysterious  shroud,  that  vast  atmos- 
phere of  mist,  both  steamers  were  holding  their  way  Avith 
irushing  prow  and  roaring  wheels,  but  invisible. 

At  a  league's  distance,  unconscious ;  and  at  nearer 
Approach,  unwarned  ;  within  hail,  and  bearing  right  toward 


THE   LOSS   OF   THE   ARCTIC.  235 

each  other,  unseen,  unfelt,  till  in  a  moment  more,  emerging 
from  the  gray  mists,  the  ill-omened  Vesta  dealt  her  deadly 
stroke  to  the  Arctic.  The  death-blow  was  scarcely  felt 
along  the  mighty  hull.  She  neither  reeled  nor  shivered. 
Neither  commander  nor  officers  deemed  that  they  had 
suffered  harm.  Prompt  upon  humanity,  the  brave  Luce 
(let  hi*  name  be  ever  sj)oken  with  admiration  and  respect) 
ordered  away  his  boat  with  the  first  (jfficer  to  inquire  if 
the  stranger  had  suffered  harm.  As  Gourley  went  over 
the  ship's  side,  oh,  that  some  good  angel  had  called  to  the 
brave  commander  in  the  words  of  Paul  on  a  like  occasion, 
"Except  these  abide  in  the  ship,  ye  cannot  be  saved." 

They  departed,  and  with  them  the  hoiie  of  the  ship,  for 
now  the  waters  gaining  upon  the  hold,  and  rising  upon  the 
fires,  revealed  the  mortal  blow.  Oh,  had  now  that  stern, 
brave  mate,  Gourley,  been  on  deck,  whom  the  sailors  were 
wont  to  mind, — had  he  stood  to  execute  efficiently  the  com- 
mander's will, — we  may  believe  that  we  should  not  have 
had  to  blusli  for  the  cowardice  and  recreancy  of  the  crew, 
nor  weep  for  the  untimely  dead.  But,  a))parently,  each 
subordinate  officer  lost  all  presence  of  mind,  then  courage, 
and  so  honor.  In  a  wild  scramble,  that  ignoble  mob  of 
firemen,  engineers,  waiters,  and  crew,  rushed  for  the  boats, 
and  abandoned  the  helpless  women,  children,  and  men  to 
the  mercy  of  the  deep  !  Four  hours  there  were  from  llio 
catastrophe  of  collision  to  the  catastroi)he  of  sinking ! 

Oh,  what  a  burial  was  here !  Not  as  when  one  is 
borne  from  his  home,  among  weeping  throngs,  and  gently 
carried  to  the  green  fields,  and  laid  peacefully  beneath  tho 
turf  and  flowers.  No  priest  stood  to  pronounce  a  burial- 
service.  It  was  an  ocean-grave.  The  mists  alone  sliroudcd 
the  burial  place.  No  sjjade  prepared  tiie  grave,  no  sexton 
filled  up  the  hollowed  earth.     Down,  down  they  sank,  and 


236  PRACTICAL   ELOCUTION. 

the   quick    returning  waters   smoothed  out   every  ripple, 
and  left  the  sea  as  if  it  had  not  been. 

H.  W.  Beecher. 


THE  CATARACT  OF  LODORE.* 


HERE  it  comes  sparkling, 
And  there  it  lies  darkling  ; 

Here  smoking  and  frothing, 

Its  tumult  and  wrath  in, 
It  hastens  along,  conflicting,  and  strong, 

Now  striking  and  raging. 

As  if  a  war  waging. 
Its  caverns  and  rocks  among. 

Rising  and  leajiing. 

Sinking  and  creeping, 

Swelling  and  flinging. 

Showering  and  springing, 

Eddying  and  whisking. 

Spouting  and  frisking, 

Twining  and  twisting 
Around  and  around, — 

Collecting,  disjecting. 
With  endless  rebound ; 

Smiting  and  fighting, 

A  sight  to  delight  in, 

Confounding,  astounding, 
Dizzying  and  deafening  the  ear  with  its  sound. 

Receding  and  speeding, 

*  A  celebrated  fall  on  Derwent- Water,  in  Cumberland,  England. 


THE  CATARACT  OF  LODORE.  237 

And  shocking  and  rocking, 
And  whizzing  and  hic-sing, 
And  dripping  and  skipping, 
And  whitening  and  brightening. 
And  quivering  and  sliivering, 
And  shining  and  twining, 
And  rattling  and  battling, 
And  shaking  and  quaking. 
And  pouring  and  roaring. 
And  waving  and  raving. 
And  tossing  and  crossing. 
And  flowing  and  growing, 
And  hurrying  and  skurrying, 
And  dinning  and  spinning. 
And  foaming  and  roaming, 
And  dropping  and  hoi)ping. 
And  heaving  and  cleaving. 

And  driving  and  riving  and  striving, 

And  sprinkling  and  twinkling  and  wrinkling. 

And  sounding  and  bounding  and  rounding, 

And  bubbling  and  troubling  and  doubling, 

Dividing  and  gliding  and  sliding, 

And  grumbling  and  rumliling  and  tumbling. 

And  gleaming  and  streaming  and  steaming  and  l)(\aming, 

And  rushing  and  flushing  and  brushing  and  gushing, 

And  flapping  and  rap|)ing  and  clap])ing  and  shipping, 

And  curling  and  whirling  and  purling  and  twirling, 

Betreating  and  beating  and  meeting  and  sheeting. 

Delaying  and  straying  and  playing  and  spraying. 

Advancing  and  prancing  and  ghmc-ing  and  dancing. 

Recoiling,  turmoiling,  and  toiling  and  boiling, 

And  dashing  and  flashing  and  spla.shing  and  chuihing ; 


238  PRACTICAL   ELOCUTION. 

And  so  never  ending,  but  always  descending, 
Sounds  and  motions  forever  and  ever  are  blending, 
All  at  once  and  all  o'er,  with  a  mighty  uproar  ; — 
And  tliis  way  the  water  comes  down  at  Lodore. 

Robert  Southet. 


YOUR  MISSION. 


IF  you  cannot  on  the  ocean 
Sail  among  the  swilitest  fleet, 
Rocking  on  the  highest  billows, 

Laughing  at  the  storms  you  meet, 
You  can  stand  among  the  sailors, 

Anchored  yet  within  the  bay. 
You  can  lend  a  hand  to  help  them, 
As  they  launch  their  boats  away. 

If  you  are  too  weak  to  journey, 

Up  the  mountain,  steep  and  high, 
You  can  stand  within  the  valley, 

While  the  multitudes  go  by. 
You  can  chant  in  happy  measure, 

As  they  slowly  pass  along  ; 
Though  they  may  forget  the  singer 

They  will  not  forget  the  song. 

If  you  have  not  gold  and  silver 

Ever  ready  to  command, 
If  you  cannot  toward  the  needy 

Reach  an  ever  open  hand, 
You  can  visit  the  afflicted. 

O'er  the  erring  you  can  weep. 
You  can  be  a  true  disciple, 

Sitting  at  the  Saviour's  feet. 


OUR   DUTIES   TO    OUR   COUNTRY.  239 

If  you  cannot  in  the  conflict 

Prove  yourself  a  soldier  true, 
If  where  the  fire  and  smoke  are  thickest, 

There's  no  work  for  you  to  do, 
When  the  battle-field  is  silent, 

You  can  go  with  careful  tread, 
You  can  bear  away  the  wounded. 

You  can  cover  up  the  dead. 

Do  not  then  stand  idly  waiting 

For  some  greater  work  to  do, 
Fortune  is  a  lazy  goddess. 

She  will  never  come  to  you. 
Go  and  toil  in  any  vineyard, 

Do  not  fear  to  do  or  dare, 
If  you  want  a  field  of  labor. 

You  can  find  it  anywhere. 


OUR  DUTIES  TO  OUR  COUNTRY. 


THIS  lovely  land,  this  glorious  liberty,  these  benign  in- 
stitutions, the  dear  purchase  of  our  fathers,  are  ours ; 
ours  to  enjoy,  ours  to  preserve,  ours  to  transmit.  Genera- 
tions past,  and  generations  to  come,  hold  us  responsible  for 
this  sacred  trust.  Our  fathers,  from  behind,  admonish  iis, 
with  their  anxious  paternal  voices;  posterity  calls  out  to 
us,  frojn  the  bosom  of  the  future;  the  world  turns  hither 
its  solicitous  eyes — all,  all  conjure  us  to  act  wisely,  and 
faithfully,  in  the  relatitjns  which  we  sustain. 

We  can  never,  indeed,  pay  the  debt  which  is  upon  us, 
but  by  virtue,  by  morality,  by  religion,  by  the  cuhivation 
of  every  good  principle  and  every  good  liabit,  we  may 
hope  to  enjoy  the  blessing  tlirough  our  day,  and  to  leave  it 


240  PRACTICAL   ELOCUTION. 

unimpaired  to  our  cliildren.  Let  us  feel  docply  liow  iiuich 
of  what  we  are,  aud  what  we  i)osse.ss,  we  owe  to  this 
liberty,  aud  these  iustitutious  of  goveruuient. 

Nature  has,  iudeed,  given  us  a  soil  which  yields  boun- 
teously to  the  hands  of  industry ;  the  uiighty  aud  fruitful 
ocean  is  before  us,  and  the  skies  over  our  heads  shed  health 
and  vigor.  But  what  are  lands,  and  seas,  and  skies,  to 
civilized  man,  without  scx-iety,  without  knowledge,  without 
morals,  without  religious  culture?  And  how  can  these  be 
enjoyed,  in  all  their  extent,  and  all  their  excellence,  but 
under  the  protection  of  wise  institutions  and  a  free  govern- 
ment ? 

Fellow-citizens,  there  is  not  one  of  us  here  present  who 
does  not,  at  this  moment,  and  at  every  moment,  experience 
in  his  own  condition,  and  in  the  condition  of  those  most 
near  and  dear  to  him,  the  influence  and  the  benefits  of  this 
liberty  and  these  institutions.  Let  us  then  ackiv)wledge 
the  blessing ;  let  us  feel  it  deejily  and  powerfully  ;  let  us 
cherish  a  strong  afl'ection  for  it,  and  resolve  to  maintain 
and  perpetuate  it.  The  blood  of  our  fathers,  let  it  not 
have  been  shed  in  vain  ;  the  great  hope  of  posterity,  let 
it  not  be  blasted.  Webster. 


MARMION  AND  DOUGLAS. 


rnilE  train  from  out  the  castle  drew, 
-L      But  Marmion  stojjp'd  to  bid  adieu : 

"  Though  something  I  might  plain,"  he  said, 
"  Of  cold  respect  to  stranger  guest. 
Sent  hither  by  your  king's  behest. 

While  in  Tantallon's  towel's  I  stay'd. 
Part  we  in  friendship  from  your  land. 
And,  noble  Earl,  receive  my  hand." 


MARMTON   AND   DOUGLAS.  241 

But  Douglas  round  him  drew  his  cloak, 
Folded  his  arms,  and  thus  he  spoke : 
"  My  manors,  halls,  and  bowers  shall  still 
Be  open,  at  my  sovereign's  will, 
To  each  one  whom  he  lists,  how'er 
Unmeet  to  be  the  owner's  peer. 
My  castles  are  my  king's  alone, 
From  turret  to  foundation-stone ; 
The  hand  of  Douglas  is  his  own, 
And  never  shall  in  friendly  grasp 
The  hand  of  such  as  JMarmion  clasp." 

Burn'd  Marmion's  swarthy  cheek  like  fixe, 
And  shook  his  very  frame  for  ire. 

And,  "  This  to  me  !"  he  said  ; 
"  An  'twere  not  for  thy  hoary  beard, 
Such  hand  as  Marmion's  had  not  spared 

To  cleave  the  Douglas'  head  ! 
And,  first,  I  tell  thee,  haughty  Peer, 
He  who  does  England's  message  here, 
Although  the  meanest  in  her  State, 
May  well,  proud  Angus,  be  thy  mate  : 
And,  Douglas,  more  I  tell  thee  liere. 

Even  in  thy  pitch  of  pride. 
Here  in  thy  hold,  thy  vassals  near 
(Nay,  never  look  u])on  your  lord, 
And  lay  your  hands  upon  your  sword,) 

I  tell  thee,  thou'rt  defied  ! 
And,  if  thou  said'st  I  am  not  peer 
To  any  lord  in  Scotland  here, 
Lowland  or  Highland,  far  or  near, 

Lord  Angus,  thou  hast  lied  !" 

On  the  Earl's  cheek  tlic  fiush  of  rage 
O'ercame  the  ashen  hue  of  age ; 


242  PRACTICAL    ELOCUTION. 

Fierce  he  broke  forth,  "  Aiul  diirest  thou  then 
To  beard  the  liou  in  his  den, 

The  Douglas  in  liis  hull  ? 
And  hopest  thou  hence  unscathed  to  go? 
No,  by  Saint  Bride  of  Bothwell,  no ! 
Up  drawbridge,  grooms, — what,  Warder,  hoi 

Let  the  portcullis  fall." 
Lord  Marmion  turn'd, — well  was  his  need ! — 
And  dash'd  the  rowels  in  his  steed. 
Like  arrow  through  the  archway  sprung ; 
The  ponderous  gate  behind  him  rung : 
To  pass  there  was  such  scanty  room. 
The  bai-s,  descending,  razed  his  plume. 

The  steed  along  the  drawbridge  flies, 
Just  as  it  trembled  on  the  rise  ; 
Not  lighter  does  the  swallow  skim 
Along  the  smooth  lake's  level  brim  ; 
And,  when  Lord  Marmion  reached  liis  band, 
He  halts,  and  turns  with  clenched  hand, 
And  shout  of  loud  defiance  pours. 
And  shook  his  gauntlet  at  the  towers. 

Sir  AValter  Scott. 


PICTURES  OF  MEMORY. 


A]\rONG  the  beautiful  pictures 
That  hang  on  Memory's  wall. 
Is  one  of  a  dim  old  forest, 
That  seemeth  best  of  all. 
Not  for  its  gnarl'd  oaks  olden. 

Dark  with  the  mistletoe  ; 
Not  for  the  violets  golden 

That  sprinkle  the  vale  below ; 


PICTURES   OF   MEMORY.  248 

Not  for  the  milk-white  lilies 

That  lean  from  the  fragrant  ledge. 
Coquetting  all  day  with  the  sunbeams, 

And  stealing  their  golden  edge  ; 
Not  for  the  vines  on  the  upland 

\yhere  the  bright  red  berries  rest, 
Nor  the  pinks,  nor  the  pale,  SAveet  cowslip. 

It  seemeth  to  me  the  best. 

I  once  had  a  little  brother 

With  eyes  that  were  dark  and  deep ; 
In  the  lap  of  that  dim  old  forest, 

He  lieth  in  peace  asleep. 
Light  as  the  down  of  the  thistle, 

Free  as  the  winds  that  blow, 
We  roved  there,  the  beautiful  summers, 

The  summers  of  long  ago  ; 
But  his  feet  on  the  hills  grew  weary. 

And,  one  of  the  autumn  eves, 
I  made  for  my  little  brother 

A  bed  of  the  yellow  leaves. 

Sweetly  his  pale  arms  folded 

My  neck  in  a  meek  embrace, 
As  the  light  of  immortal  beauty 

Silently  cover'd  his  face  ; 
And  when  the  arroAvs  of  sunset 

Lodged  in  the  tree-tops  liright, 
He  fell,  in  his  saint-like  beauty, 

Asleep  by  the  gates  of  light. 

Therefore,  of  all  the  i)lctures 

That  hang  on  Memory's  wall, 
The  one  of  the  dim  old  forest 

Seemeth  the  best  of  all.  Alice  Cart. 


244  PRACTICAL   ELOCUTION. 


CASSIUS  AGAINST  C^SAR. 


HONOR  is  the  subject  of  my  story, 
1  cuunot  tell  what  you  and  other  men 
Think  of  this  life ;  but  for  my  single  self, 
I  had  as  lief  not  be,  as  live  to  be 
In  awe  of  such  a  thiug  as  I  myself. 
I  was  born  free  as  Csesar ;  so  were  you  ; 
We  both  have  fed  as  well ;  and  we  can  both 
Endure  the  winter's  cold  as  well  as  he. 

For  once,  upon  a  raw  and  gusty  day. 

The  troubled  Tiber,  chafing  with  her  shores, 

Caisar  said  to  me — "  Darest  thou,  Cassius,  now 

Leap  in  with  me,  into  this  angry  flood, 

And  swim  to  yonder  point  ?"     Upon  the  word, 

Accoutered  as  I  was,  I  plunged  in, 

And  bade  him  follow  ;  so,  indeed  he  did. 

The  torrent  roared,  and  we  did  buflet  it ; 

With  lusty  sinews,  throwing  it  aside. 

And  stemming  it,  with  hearts  of  controversy. 

But  ere  we  could  arrive  the  point  proposed, 

Csesar  cried — "  Help  me,  Cassius,  or  I  sink." 

I,  as  JEneas,  our  great  ancestor. 

Did  from  the  flames  of  Troy,  upon  his  shoulder 

The  old  Anchises  bear,  so,  from  the  waves  of  Tiber 

Did  I  the  tired  Csesar ;  and  this  man 

Is  now  become  a  god ;  and  Cassius  is 

A  wretched  creature,  and  must  bend  his  body 

If  Csesar  carelessly  but  nod  on  him. 

He  had  a  fever  when  he  was  in  Spain, 
And  when  the  fit  was  on  him,  I  did  mark 


CA8SIUS  AGAINST    CAESAR.  245 

How  he  did  shake :  'tis  true,  this  god  did  shake  ; 

His  coward  lips  did  from  their  color  fly  ; 

And  that  same  eye,  whose  bend  doth  awe  the  world, 

Did  lose  his  luster  ;  I  did  hear  him  groan  : 

Ay,  and  that  tongue  of  his,  that  bade  the  Romans 

Mark  him,  and  write  his  speeches  in  their  books, 

"  Alas  !"  it  cried — "  Give  me  some  drink,  Titinius," 

As  a  sick  girl. — Ye  gods  !  it  doth  amaze  me, 

A  man  of  such  a  feeble  temper  should 

So  get  the  start  of  the  majestic  world. 

And  bear  the  palm  alone. 

Why,  man,  he  doth  bestride  the  narrow  world, 

Like  a  Colossus ;  and  we,  petty  men, 

Walk  under  his  huge  legs,  and  peep  about, 

To  find  ourselves  dishonorable  graves. 

Men,  at  some  time,  are  masters  of  their  fates : 

The  fiiult,  dear  Brutus,  is  not  in  our  stars. 

But  in  ourselves,  that  we  are  underlings. 

Brutus  and  Csesar  !  What  should  be  in  that  Csesar? 

Why  should  that  name  be  sounded  more  than  yours  ? 

Write  them  together  :  yours  is  as  fair  a  name  ; 

Sound  them  :  it  dotli  become  the  mouth  as  well ; 

Weigh  them  :  it  is  as  heavy  :  conjure  with  them  : 

Brutus  will  start  a  spirit  as  soon  as  Csesar. 

Now,  in  the  name  of  all  the  gods  at  once, 

Upon  what  meat  doth  this  our  Ca)sar  feed. 

That  he  is  grown  so  great  ?  Age,  thou  art  shamed : 

Rome,  thou  hast  lost  the  breed  of  noble  bloods. 

When  went  there  by  an  age,  since  tlie  great  flood. 

But  it  was  famed  witli  more  than  one  man  ? 

When  could  they  say,  till  now,  that  talked  of  Rome, 

That  her  wide  walks  encompa^ised  but  one  man  ? 


246  PRACTICAL    KLOCUTION. 

Now  is  it  Komc,  iiuiood,  and  room  enough, 

When  there  is  in  it  but  one  only  num. 

Oh  !  you  and  1  have  heard  our  fatliers  say, 

There  was  a  Brutus  once,  that  would  have  brooked 

The  eternal  devil,  to  keep  his  state  in  Rome, 

iVis  easily  as  a  king.  (Shakespeare. 


TACT  AND  TALENT. 


TALENT  is  something,  but  tact  is  everything.  Talent 
is  serious,  sober,  grave,  and  respectable:  tact  is  all 
that,  and  more,  too.  It  is  not  a  sixth  sense,  but  it  is  the 
life  of  all  the  five.  It  is  the  open  eye,  the  quick  ear,  the 
judging  taste,  the  keen  smell,  aiTd  the  lively  touch  ;  it  is 
the  interpreter  of  all  riddles,  the  surmountcr  of  all  diffi- 
culties, the  remover  of  all  obstacles.  It  is  useful  in  all 
places,  and  at  all  times  ;  it  is  useful  in  solitude,  for  it 
shows  a  man  his  way  into  the  world  ;  it  is  useful  in  society, 
for  it  shows  him  his  way  through  the  world. 

Talent  is  poAver,  tact  is  skill ;  talent  is  weight,  tact  is 
momentum ;  talent  knows  what  to  do,  tact  knows  how  to 
do  it ;  talent  makes  a  man  respectable,  tact  will  make  him 
respected  ;  talent  is  wealth,  tact  is  ready  money.  For  all 
the  practical  purposes  of  life,  tact  carries  it  against  talent, 
ten  to  one.  Take  them  to  the  theatre,  and  put  them 
against  each  other  on  the  stage,  and  talent  shall  produce 
you  a  tragedy  that  will  scarcely  Vive  long  enough  to  be 
condemned,  while  tact  keeps  the  house  in  a  roai%  Tiight 
after  night,  with  its  successful  farces.  There  is  no  want  of 
dramatic  talent,  there  is  no  want  of  dramatic  tact ;  but 
they  are  seldom  together :  so  we  have  successful   pieces 


TACT   AND  TALENT.  247 

whicli  are  not  respectable,  and  respectable  pieces  which  are 
not  successful. 

Take  them  to  the  bar,  and  let  them  shake  their  learned 
curls  at  each  other  in  legal  rivalry.  Talent  sees  its  way 
clearly,  but  tact  is  first  at  its  journey's  end.  Talent  has 
many  a  compliment  fi'om  the  bench,  but  tact  touches  fees 
from  attorneys  and  clients.  Talent  speaks  learnedly  and 
logically,  tact  triumphantly.  Talent  makes  the  world 
wonder  that  it  gets  on  no  faster,  tact  excites  astonishment 
that  it  gets  on  so  fast.  And  the  secret  is,  that  tact  has  no 
weight  to  carry  ;  it  makes  no  false  steps  ;  it  hits  the  right 
nail  on  the  head  ;  it  loses  no  time ;  it  takes  all  hints,  and, 
by  keeping  its  eye  on  the  weathercock,  is  ready  to  take 
advantage  of  every  wind  that  blows. 

Take  them  into  the  cliurch.  Talent  has  always  some- 
thing worth  hearing,  tact  is  sure  of  abundance  of  hearers  ; 
talent  may  obtain  a  living,  tact  will  make  one ;  talent  gets 
a  good  name,  tact  a  great  one  ;  talent  convinces,  tact  con- 
verts ;  talent  is  an  honor  to  the  profession,  tact  gains  honor 
from  the  profession.  Take  them  to  court.  Talent  feels 
its  weight,  tact  finds  its  way  ;  talent  commands,  tact  is 
obeyed ;  talent  is  honored  Avith  approbation,  and  tact 
is  blessed  by  preferment. 

Place  them  in  the  senate.  Talent  has  the  ear  of  tlie 
house,  but  tact  wins  its  heart,  and  has  its  votes  ;  talent  is 
fit  for  employment,  but  tact  is  fitted  for  it.  Tact  has  a 
knack  of  slipping  into  place  with  a  sweet  silence  and  glili- 
ness  of  movement,  as  a  billiard  l)all  insiimates  itself  into 
the  pocket.  It  seems  to  know  everything,  without  learning 
anything.  It  has  served  an  invisible  and  extemporary 
apprenticeship  ;  it  wants  no  drilling  ;  it  never  ranks  in 
the  awkward  squad  ;  it  has  no  left  hand,  no  deaf  ear,  no 
blind  side.     It  puts  ou  no  looks  of  wondrous  wiadom,  it 


248  PRACTICAL    ELOCUTION. 

has  no  air  of  profundity,  but  plays  with  the  details  of 
place  as  dexterously  as  a  well-taught  hand  flourishes  over 
the  keys  of  the  piano-forte.  It  has  all  tlie  air  of  eonunnn- 
place,  and  all  the  force  and  power  of  genius. 

London  Atlas. 


GOD'S   FIRST  TP:MrLES. 


THE  groves  were  God's  first  temples.     Ere  man  leam'd 
To  hew  the  shaft,  and  lay  the  architrave, 
And  spread  the  roof  above  them,  ere  he  framed 
The  lofty  vault,  to  gather  and  njll  back 
The  sound  of  anthems,  in  the  darkling  wood, 
Amidst  the  cool  and  silence,  he  knelt  down 
And  offer'd  to  the  Mightiest  solemn  thanks 
And  supplication.     For  his  simple  heart 
Might  not  resist  the  sacred  influences 
That,  from  the  stilly  twilight  of  the  place, 
And  from  the  gray  old  trunks,  that,  high  in  heaven, 
Mingled  their  mossy  boughs,  and  from  the  sound 
Of  the  invisible  breath,  that  sway'd  at  once 
All  their  green  tops,  stole  over  him,  and  bow'd 
His  spirit  with  the  thought  of  boundless  Power 
And  inaccessible  Majesty.     Ah,  why 
Should  we,  in  the  world's  riper  years,  neglect 
God's  ancient  sanctuaries,  and  adore 
Only  among  the  crowd,  and  under  roofs 
That  our  frail  hands  have  raised  ?  Let  me,  at  least, 
Here,  in  the  shadow  of  the  ancient  wood, 
Offer  one  hymn  ;  thrice  happy,  if  it  find 
Acceptance  iu  HL*  ear. 


GOD'S   FIRST   TEMPLES.  249 

Father,  Thy  hand 
Hath  reared  these  venerable  cohimns:  Thou 
Didst  weave  this  verdant  roof.     Thou  didst  look  down 
Upon  the  naked  earth,  and  forthwith  rose 
All  these  fair  ranks  of  trees.     They  in  Thy  sun 
Budded,  and  shook  their  green  leaves  in  Thy  breeze, 
And  shot  toward  heaven.     The  century-living  crow, 
Whose  birth  was  in  their  tops,  grew  old  and  died 
Among  their  branches,  till  at  last  they  stood. 
As  now  they  stand,  massy  and  tall  and  dark, 
Fit  shrine  for  humble  worshiper  to  hold 
Communion  with  his  Maker. 

Here  are  seen 
No  traces  of  man's  pomp  or  pride  ;  no  silks 
Rustle,  no  jewels  shine,  nor  envious  eyes 
Encounter  ;  no  fantastic  carvings  show 
The  boast  of  our  vain  race  to  change  the  form 
Of  Thy  fair  works.     But  Thou  art  here  ;  Thou  fiU'st 
The  solitude.     Thou  art  in  the  soft  winds 
That  run  along  the  summits  of  these  trees 
In  music ;  Thou  art  in  the  cooler  breath. 
That,  from  the  inmost  darkness  of  the  place, 
Comes,  scarcely  felt ;  the  barky  trunks,  the  ground, 
The  fresh,  moist  ground,  are  all  instinct  with  Thee. 

Here  is  continual  worship  ;  Nature  hei-e. 
In  the  tranquillity  that  Thou  dost  love, 
Enjoys  Thy  presence.     Noiselessly  around. 
From  perch  to  perch  the  solitary  bird 
Passes ;  and  yon  clear  spring,  that,  'midst  its  herbs, 
Wells  softly  forth,  and  visits  the  strong  roots 
Of  half  the  mighty  forests,  tells  no  tale 
Of  all  the  good  it  does. 
11* 


250  PRACTICAL  ELOCUTION. 

Thou  hast  not  left 
Thyself  without  a  witness,  in  these  shades, 
Of  Thy  perfections.     (Jrandeur,  strength,  and  graoe 
Are  here  to  speak  of  Thee.     This  mighty  oak, — 
By  uhose  innnovahle  stem  I  stand,  and  seem 
Almost  annihilated, — not  a  prince, 
In  all  the  proud  old  world  beyond  the  deep, 
Ere  wore  his  cro-svn  as  loftily  as  he 
Wears  the  green  coronal  of  leaves  with  which 
Thy  hand  has  graced  him.     Nestled  at  his  root 
Is  beauty,  such  as  blooms  not  in  the  glare 
Of  the  broad  sun.     Tluit  delicate  forest  flower, 
With  scented  breath,  and  looks  so  like  a  smile, 
Seems,  as  it  issues  from  the  shapeless  mould, 
An  emanation  of  th'  indwelling  life, 
A  visible  token  of  the  upholding  love. 
That  are  the  soul  of  this  wide  Uuivei-se.  v 

My  heart  is  awed  within  me  when  I  think 
Of  the  great  miracle  that  still  goes  on. 
In  silence,  round  me, — the  perpetual  work 
Of  Thy  creation,  finish 'd,  yet  renew 'd 
Forever.     Written  on  Thy  works  I  read 
The  lesson  of  Thy  own  eternity. 
Lo  !  all  grow  old  and  die  ;  but  see,  again. 
How,  on  the  faltering  footste])s  of  deeav, 
Youth  presses — ever  gay  and  beautiful  youth — 
In  all  its  beautiful  fjrms.     Those  lofty  trees 
Wave  not  less  proudly  than  their  ancestors 
Moulder  beneath  them. 

O,  there  is  not  lost 
One  of  Earth's  charms  :  upon  her  bosom  yet. 
After  the  flight  of  untold  centuries, 
The  freshness  of  her  far  beginning  lies, 


The  nature  of  true  eloquence.  251 

And  yet  shall  lie.     Life  mocks  the  idle  hate 
Of  his  arch  enemy  Death  ;  yea,  seats  himself 
UiDOu  the  sepulchre,  and  blooms  and  smiles, 
And  of  the  triumphs  of  his  ghastly  foe 
Makes  his  own  nourishment.     For  he  came  forth 
From  Thine  own  bosom,  and  shall  have  no  end. 

O  God,  when  Thou 
Dost  scai'e  the  world  with  tempests,  set  on  fire 
The  heavens  with  falling  thunderbolts,  or  fill, 
With  all  the  waters  of  the  firmament, 
The  swift,  dark  whirlwind,  that  uproots  the  woods 
And  drowns  the  villages  ;  when,  at  Thy  call, 
Uprises  the  great  deep,  and  throws  himself 
Upon  the  continent,  and  overwhelms 
Its  cities ;  who  forgets  not,  at  the  sight 
Of  these  tremendous  tokens  of  Thy  power, 
His  pride,  and  lays  his  strifes  and  follies  by  ! 
O,  from  these  sterner  aspects  of  Thy  face 
Spare  me  and  mine  ;  nor  let  us  need  the  wrath 
Of  the  mad,  unchain'd  elements,  to  teach 
Who  rules  them.     Be  it  ours  to  meditate, 
In  these  calm  shades,  Thy  milder  majesty. 
And  to  the  beautiful  order  of  Thy  works 
Learn  to  conform  the  order  of  our  lives. 

W.  C.  Bryant. 


THE  NATURE  OF  TRUE  ELOQUENCE. 


TRUE  eloquence  does  not  consist  in  speech.  It  cannot 
be  brought  from  far.  Labor  and  learning  may  toil  for 
it,  but  they  Avill  toil  in  vain.  Words  and  phrases  may  be 
marshaled  in  every  way,  but  they  cauuot  compass  it.  It 
must  exist  in  the  man,  in  the  subject,  and  in  the  occasion. 


252  rUACTICAL    KI.OCUTION. 

Aflected  pa^^sion,  intcnso  expression,  tlie  jxniip  of  declama- 
tion, all  may  a^spire  after  it, — they  cannot  reach  it.  It 
comes,  if  it  comes  at  all,  like  the  outbreaking  of  a  foun- 
tain from  the  earth,  or  the  bureting  forth  of  volcanic  fires, 
with  spontaneous,  original,  native  force.  The  graces  taught 
in  the  .schools,  the  costly  onianicnts,  and  stutlied  contriv^- 
ances  of  speech,  shock  and  disgust  men,  when  their  own 
lives,  and  the  fate  of  their  wives,  their  children,  and  their 
country  hang  on  the  decision  of  the  hour.  Then  words 
have  lost  their  power,  rhetoric  is  vain,  and  all  elaborate 
oratory  contemptible.  Even  genius  itself  then  feels  re- 
buked and  subdued,  as  in  the  presence  of  higher  qualities. 
Then  patriotism  is  eloquent ;  then  self-devotion  is  eloquent. 
The  clear  conception,  outrunning  the  deductions  of  logic, 
the  high  purpose,  the  firm  resolve,  the  dauntless  spirit, 
speaking  on  the  tongue,  beaming  from  the  eye,  informing 
every  feature,  and  urging  the  whole  man  onwai-d,  right  on- 
ward to  his  object, — this,  this  is  ekxiuence  ;  or,  rather,  it  is 
something  greater  and  higher  than  all  eloquence  :  it  is 
action,  noble,  sublime,  Godlike  action. 

Daniel  Webster. 


ORPHEUS  AND  EURYDICE. 


SIR  Orpheus,  whom  the  poets  have  sung 
In  every  metre  and  every  tongue 
Was,  you  may  remember,  a  famous  musician,- 
At  least  for  a  youth  in  his  j)agan  condition, — 
For  historians  tell  he  played  on  his  shell 
From  morning  till  night,  so  remarkably  well 
That  his  music  created  a  regular  spell 
On  trees  and  stones  in  forest  and  dell ! 


ORPHEUS   AND    EURYDICE.  253 

What  sort  of  an  instrument  his  could  be 
Is  really  more  than  is  known  to  me, — 
For  none  of  the  books  have  told,  d'  ye  see ! 
It's  very  certain  those  heathen  "  swells  " 
Knew  nothing  at  all  of  oyster-shells, 
And  it's  clear  Sir  Orpheus  never  could  own  a 
Shell  like  those  they  make  in  Cremona  ; 
But  whatever  it  was,  to  "  move  the  stones  " 
It  must  have  shelled  out  some  powerful  tones, 
And  entitled  the  player  to  rank  in  my  rhyme 
As  the  very  Vieuxtemns  of  the  very  old  time  ! 

But  alas  for  the  joys  of  this  mutable  life  ! 
Sir  Orpheus  lost  his  beautiful  wife, — 
Eurydice, — who  vanished  one  day 
From  Earth,  in  a  very  unpleasant  way  ! 
It  chanced,  as  near  as  I  can  determine, 
Through  one  of  those  vertebrated  vermin 
That  lie  in  the  grass  so  prettily  curled. 
Waiting  to  "  snake  "  you  out  of  the  world ! 
And  the  poets  tell  she  went  to — well — 
A  place  where  Greeks  and  Romans  dwell 
After  they  burst  their  mortal  shell ; 
A  region  that  in  the  deepest  shade  is, 
And  known  by  the  classical  name  of  Hades, — 
A  different  place  from  the  terrible  furnace 
Of  Tartarus,  down  below  A  vermis. 

Now,  having  a  heart  uncommonly  stout, 
Sir  Orpheus  didn't  go  whining  about, 
Nor  marry  another,  as  you  would,  no  doubt, 
But  made  up  his  mind  to  fiddle  her  out ! 
But  near  the  gate  he  had  to  wait. 
For  there  in  state  old  Cerberus  sate. 


254  PUACTIOAL    ELOCUTION. 

A  three-headed  dog,  as  cruel  as  Fate, 

Guarding  the  entranof  early  and  late; 

A  l)cast  so  sagacious  and  very  voracious, 

So  uncommonly  sliarp  and  extremely  rapacious, 

That  it  really  may  be  d()ul)ted  whether 

He'd  have  his  match,  should  a  commun  tether 

Unite  three  aldermen's  heads  together  ! 

But  Ori)heus,  not  in  the  least  afraid, 
Tuned  up  his  shell,  and  quickly  essayed 
What  could  be  done  with  a  serenade, 
In  short,  so  charming  an  air  he  played, 
He  quite  succeeded  in  overreaching 
The  cunning  cur,  by  musical  teaching, 
And  jiut  Iiim  to  sleep  as  fast  as  preaching! 

And  now  our  musical  champion,  Ori)heus, 
Having  given  the  janitor  over  to  JMorpheus, 
Went  groping  around  among  the  ladies 
Who  throng  the  dismal  halls  of  Hades, 

Calling  aloud 

To  the  shady  crowd. 
In  a  voice  as  shrill  as  a  martial  fife, 
"  O,  tell  me  where  in  hell  is  my  wife !" 
(A  natural  question,  'tis  very  i)laiii, 
Although  it  may  sound  a  little  ])rofane). 

"  Eurydice  !  Eu-ryd-i-ce  !" 
He  cried  as  loud  as  loud  could  be — 
(A  singular  sound,  and  funny  withal, 
In  a  place  where  nobody  rides  at  all !) 

"  Eurydice  !  Eurydice  ! 
O  come,  my  dear,  along  with  me !" 
And  then  he  played  so  remarkalily  fine 
That  it  really  might  be  called  divine, — 


ORPHEUS   AND   EURYDICE.  256 

For  who  can  show, 
On  earth  or  below, 
Such  w^onderful  feats  in  the  musical  line  ? 

And  still  Sir  Orpheus  chanted  his  song, 
Sweet  and  clear  and  stroug  and  long, 

"  Eurydice  ! — Eurydice  !" 
He  cried  as  loud  as  loud  could  be ; 
And  Echo,  taking  up  the  word, 
Kept  it  up  till  the  lady  heard, 
And  came  with  joy  to  meet  her  lord. 
And  he  led  her  along  the  infernal  route. 
Until  he  had  got  her  almost  out, 
When,  suddenly  turning  his  head  about 
(To  take  a  peep  at  his  wife,  no  doubt). 

He  gave  a  groan, 

For  the  lady  was  gone. 
And  had  left  him  standing  there  all  alone ! 
For  by  an  oath  tlie  gods  had  bound 
Sir  Orpheus  not  to  look  around 
Till  he  was  clear  of  the  sacred  ground. 
If  he'd  have  Eurydice  safe  and  sound  ; 
For  the  moment  he  did  an  act  so  rash 
His  wife  would  vanish  as  quick  as  a  flash ! 

MORAL. 

Young  women  !  beware,  for  goodness'  sake, 
Of  every  sort  of  "  sarpent  snak(' ;" 
Remember  the  rogue  is  apt  to  deceive, 
And  played  the  deuce  with  Grandmother  Eve^ 

Young  men  !  it's  a  critical  thing  to  go 
Exactly  right  with  a  lady  in  tow  ; 
But  when  you  are  in  the  proper  track, 
Just  go  ahead,  and  never  look  back  ! 

John  G.  Saxe. 


256  PRACTICAL    Et^OClTIOM. 

A  WELSH  CLASSIC. 


AN  unlettered  clergynian  wautiiiLj  a  place 
(His  maunevs  were  genial  and  pleasant  his  face), 
Received  a  kind  letter  inviting  him  down 
To  preach  to  a  church  in  a  large  country  town. 

The  town  wa.s  uncultured,  old-fa.shioned,  and  ])lain  ; 
The  principal  business  was  harvesting  grain, 
And  none  of  the  church-niembers  ventured  to  sjjeak 
A  word  of  the  Hebrew,  or  Latin,  or  Greek. 

For  this  very  reason  they  wished  all  the  more, 
A  scholar  well  grounded  in  classical  lore  ; 
Wliile  a  candidate  might  just  as  well  stay  away 
If  he  didn't  quote  Hebrew  at  least  once  a  day. 

The  divine  about  whom  this  odd  story  was  told. 
By  the  newspaper  gossips,  was  cunning  and  bold, 
And  knowing  they  wished  for  a  classical  man, 
Though  he  didn't  know  Latin,  he  hit  on  a  plan. 

For  he   thought,  ''We  shall   see  how  much   shrewdness 

avails, 
Though  I  cannot  read  (xreek,  I'm  a  native  of  Wales : 
If  a  few  Welsh  expressions  I  cautiously  use, 
It  may  rival  the  Hebrew  in  pleasing  the  pews." 

On  the  critical  day,  with  exceptional  grace. 
With  well-attuned  voice,  and  well-controlled  face, 
He  read  from  the  Bible  a  passage  or  two. 
And  remarked,  "  My  dear  friends,  this  translation  won't 
do. 


A   WELSH   CLASSIC.  257 

"  To  be  sure  'tis  correct,  but  if  beauty  you  seek, 
Hear  the  rhythmical  sound  of  original  Greek !" 
Then  boldly  a  medley  of  Welsh  he  recited, 
And  marked  the  effect  on  his  hearers  benighted. 

The  children  gazed  up  with  a  wondering  stare, 
Their  mothers  assumed  an  intelligent  air, 
While  the  deacons  all  nodded  as  much  as  to  say, 
That  Greek  was  by  far  the  more  excellent  way. 

A  still  bolder  venture  he  hazarded  next. 
By  a  curious  way  of  announcing  the  text : 
"These  words,  as  my  hearers  have- noticed,  of  course, 
Have  lost  nearly  all  their  original  force, 

"  In  the  Hebrew  how  clearly  the  thought  flashes  out." 
And  more  of  his  Welsh  he  proceeded  to  spout ; 
When  what  was  his  horror  to  spy  near  the  door 
A  jolly  old  Welshman,  just  ready  to  roar ! 

Overcome  with  remorse  and  foreseeing  the  shame, 
Exposure  would  bring  to  his  reverend  name. 
The  preacher's  mad  impulse  at  first  was  to  run. 
But  the  Welshman's  round  face  so  brimming  with  fun. 

Suggested  a  possible  plan  of  escape, 

W^hich  none  but  a  terrified  parson  could  shape ; 

He  bravely  confronted  that  dangerous  smile. 

And  coolly  continued  his  sermon  awhile, 

Till  at  length  without  showing  the  least  agitation, 

He  rallied  himself  for  a  final  quotation : 

"  The  rendering  here  is  decidedly  wrong. 
Quite  different  thoughts  to  the  Clialdce  JK'long." 
Then  Welshman  in  pulpit  to"  Welshman  in  pew, 
In  the  barbarous  dialect  they  alone  knew, 


258  PKArTIPAI-    ELOCUTION. 

Cried,  "  Friend  !  By  the  land  of  our  fathei-s,  I  pray, 
As  you  liope  for  salvation,  don't  give  nie  avay  !" 
The  joke  was  so  rich,  the  old  Wi'lsliiiian  kept  still; 
And  the  classical  parson  is  preaching  there  still. 

II.  H.  Ballard. 


EULOGY  OX  O'CONNELL. 


THERE  is  sad  news  from  (xcnoa.  An  aged  and  weary 
j)ilgrini,  who  can  travel  no  farther,  passes  beneath  the 
gate  of  one  of  her  ancient  palaces,  saying,  with  pious 
resignation,  as  he  enters  its  silent  chambers,  "  Well,  it  is 
God's  will  that  I  shall  never  see  Rome.  I  am  disap- 
I)ointed,  but  I  am  ready  to  die."  The  "  superb,"  though 
fading  queen  of  the  Jlediterrancan  holds  anxious  watch 
through  ten  long  days  over  the  majestic  stranger's  wasting 
frame.  And  now  death  is  there, — the  Liberator  of  Ireland 
has  sunk  to  rest  in  the  cradle  of  Columbus. 

Coincidence  beautiful  and  most  sublime !  It  was  the 
very  day  set  apart  by  the  elder  daughter  of  the  Church 
for  prayer  and  sacrifice  throughout  the  world  for  the  chil- 
dren of  the  sacred  island,  perishing  by  famine  and  pesti- 
lence in  their  houses  and  in  their  native  fields,  and  on 
their  crowded  paths  of  exile,  on  the  sea  and  in  the  havens, 
and  on  the  lakes  and  along  the  rivers  of  this  fur  distant 
land.  The  chimes  rung  out  by  pity  for  his  countrymen 
were  O'Connell's  fitting  knell ;  his  soul  went  forth  on 
clouds  of  incense  that  rose  from  altars  of  Christian 
charitv ;  and  the  mournful  anthems  which  recited  the 
faith,  and  the  virtue,  and  the  endurance  of  Ireland  were 
his  becoming  requiem. 

But  has  not  O'Connell  done  more  than  enough  for  fame  ? 


EULOGY   ON    O'CONNELL.  259 

On  the  lofty  brow  of  Monticello,  under  a  green  old  oak,  is 
a  block  of  granite,  and  underneath  are  the  ashes  of  Jef- 
ferson. Kead  the  epitaph, — it  is  the  sage's  claim  to  immor- 
tality :  "  Author  of  the  Declaration  of  Independence,  and 
of  the  Statute  for  Keligious  Liberty."  Stop  now  and 
write  an  epitaph  for  Daniel  O'Connell :  "  He  gave  liberty 
of  conscience  to  Europe,  and  renewed  the  revolutions  of 
the  kingdoms  toward  universal  freedom,  which  began  in 
America  and  had  been  arrested  by  the  anarchy  of  France." 

Let  the  statesmen  of  the  age  read  that  epitaph  and  be 
humble.  Let  the  kings  and  aristocracies  of  the  earth  read 
it  and  tremble.  Who  has  ever  accomplished  so  much  for 
human  freedom  with  means  so  feeble  ?  Who  but  he  has 
ever  given  liberty  to  a  people  by  the  mere  utterance  of 
his  voice,  without  an  army,  navy,  or  revenues, — Avithout  a 
sword,  a  spear,  or  even  a  shield  ?  Who  but  he  ever  sub- 
verted tyranny,  and  saved  the  lives  of  the  oppressed,  and 
yet  spared  the  oppressor?  Who  but  he  ever  detached  from 
a  venerable  constitution  a  column  of  aristocracy,  dashed 
it  to  the  earth,  and  yet  left  the  ancient  fabric  stronger 
than  before  ?  Who  but  he  has  ever  lifted  up  seven 
millions  of  people  from  the  debasement  of  ages,  to  the 
dignity  of  freedom,  without  exacting  an  ounce  of  gold,  or 
wasting  the  blood  of  one  human  heart  ? 

Whose  voice  yet  lingers  like  O'Connell's  in  the  ear  of 
tyrants,  making  them  sink  Avith  fear  of  cliange ;  and  in 
the  ear  of  the  most  degraded  slaves  on  earth,  awaking 
hopes  of  freedom?  Who  before  him  has  brouglit  the 
schismatics  of  two  centuries  together,  conciliating  them 
at  the  altar  of  universal  liberty?  Who  but  he  ever 
brought  Papal  Rome  and  Protestant  America  to  burn 
incense  together?  It  was  O'Connell's  mission  to  teach 
mankind  that  Liberty  was  not  estranged  from  Christianity, 


PRACTICAL    ELOCUTIOK. 

as  was  proclaimed  l)y  revolutionary  I'^raiu-e ;  that  she  wa9 
not  divorced  from  law  and  public  ordrr  ;  that  she  was  not 
a  demon  like  Moloch,  recjuiring  to  be  ])ropitiated  with  tlie 
blood  of  liunian  sacrifice ;  that  democracy  is  the  daughter 
of  pe&ce,  aud,  like  true  religion,  worketh  by  love. 

W.  H.  Seward. 


A  MAN'S  A  MAN  FOR  A'  THAT. 


IS  there,  for  honest  poverty. 
That  hangs  his  head,  and  a'  that? 
The  coward-slave,  we  pass  him  by. 
And  dare  be  poor,  for  a'  that ! 
For  a'  that,  and  a'  that, 

Our  toils  obscure,  and  a'  that ; 

The  rank  is  but  the  guinea's  stamp ; 

The  man's  the  gowd  for  a'  that. 

What  tho'  on  hamely  fare  Ave  dine, 
Wear  hodden-gray,  and  a'  that ; 
Gie  fools  their  silks,  and  knaves  their  wine^ 
A  man's  a  man,  for  a'  that. 
For  a'  that,  and  a'  that, 

Their  tinsel  show,  and  a'  that ; 
The  honest  man,  tlio'  ne'er  sae  poor, 
Is  king  o'  men  for  a'  that. 

Ye  see  yon  birkie,  ca'ed  a  lord, 

Wha  struts,  and  stares,  and  a'  that. 

Tho'  hundreds  worship  at  his  word, 
He's  but  a  coof  for  a'  that ; 


THE   SAILING    OF    KING   OLAF.  2Q1 

For  a'  that,  and  a'  that, 

His  riband,  star,  and  a'  that, 
The  man  of  independent  mind. 

He  looks  and  laughs  at  a'  that. 

A  king  can  mak  a  belted  knight, 
A  marquis,  duke,  and  a'  that ; 
But  an  honest  man's  aboon  his  might, 
Guid  faith,  he  maunna  fa'  that ! 
For  a'  that,  and  a'  that, 

Their  dignities,  and  a'  that, 
The  pith  o'  sense,  and  pride  o'  worth, 
Are  higher  rank  than  a'  that. 

Then  let  us  pray  that  come  it  may, 

As  come  it  will  for  a'  that. 
That  sense  and  worth,  o'er  a'  the  earth, 
May  bear  the  gree,  and  a'  that ; 
For  a'  that,  and  a'  that ; 

It's  coming  yet,  for  a'  that ; 
When  man  to  man,  the  warld  o'er. 
Shall  brothers  be  for  a'  that. 

Robert  Burn* 


THE  SAILING  OF  KING  OLAF. 

From  the  Atlantic  Monthly. 


•*  "VrORROWAY  hills  are  grand  to  sec, 

-L^      Norroway  vales  are  broad  and  fair: 
Any  monarch  on  earth  miglit  be 

Contented  to  find  his  kingdom  tlicc!" 
So  spake  Harold  Haardrade,  bold, 
To  Olaf,  his  brother,  with  beard  red-gold. 


262  PRACTICAl.    i:iX)CUTION. 

*' A  bargain  I"  criod  Olal':  "  Jk'side  the  strand 

Our  sliips  rock  idle.     Come,  sail  away  I 
Who  first  shall  ^vin  to  our  native  land, 
He  shall  be  king  of  old  Norroway." 

Quoth  Harold,  the  stern  :  "  My  vessel  for  thine, 
I  will  not  trust  to  this  laggard  of  mine.' 

"  Take  thou  my  Dragon  Avith  silken  sails," 

Said  Olaf,  "  The  Ox  shall  be  mine  in  place. 
If  it  pleases  our  Lord  to  send  me  gales, 
In  either  vessel  I'll  win  the  race. 
With  this  exchange  ar't  satisfied  ?" 
"  Ay,  brother,"  the  crafty  one  replied. 

King  Olaf  strode  to  the  church  to  pray 

For  blessing  of  God  on  crew  and  ship  ; 

But  Harold,  the  traitor,  made  haste  to  weigh 

His  anchor,  and  out  of  the  harbor  slip. 

"  Pray  !"  laughed  Harold  Haardrade,  "  pray  I 
The  wind's  in  my  favor,  let  sail !     Away !" 

As  Olaf  knelt  by  the  chancel  rail, 

Down  the  broad  aisle  came  one  in  haste, 
With  panting  bosom  and  cheeks  all  pale ; 
Straight  to  King  Olaf 's  side  he  paced  : 

"  Oh  !  waste  no  time  in  praying,"  cried  he, 
"  For  Harold  already  is  far  at  sea !" 

But  Olaf  answered  :  "  Let  sail  who  will, 

Without  God's  blessing  I  sliall  not  go." 
Beside  the  altar  he  tarried  still, 

While  the  good  priest  chanted  soft  and  low; 
And  Olaf  prayed  the  Lord  in  his  heart, 
"  I  shall  win  yet  if  Thou  take  my  part  I" 


THE   SAILING    OF   KING   OLAF.  263 

Cheerily  then  he  leaped  on  board  ; 

High  on  the  prow  he  took  his  stand  ; 
"  Forward  !"  he  bade,  "  In  the  name  of  the  Lord  1" 
Held  the  white  horn  of  the  Ox  in  his  hand : 
"  Now,  Ox,  good  Ox,  I  pray  thee  speed 
As  if  to  pasture  in  clover  mead  !" 

The  huge  Ox  rolled  from  side  to  side, 

And  merrily  out  of  the  harbor  sped. 
*'  Dost  see  the  Dragon  ?"  King  Olaf  cried 
To  the  lad  who  clung  to  the  high  mast-head. 
"  Not  so  !"  the  watcher  swift  answer  gave, 
"  There  is  never  a  boat  u2:)on  the  wave." 

Onward,  then,  for  a  league  and  twain. 

Right  in  the  teeth  of  the  wind  they  flew. 
"  See'st  aught  of  the  Dragon  upon  the  main  T* 
"  Something  to  landward  sure  I  view  ! 
Far  ahead  I  can  just  behold 
Silken  sails  with  a  border  of  gold." 

The  third  time,  Olaf  called  with  a  frown  : 

"  Dost  see  my  Dragon  yet  ?  Ho  !  Say !" 

Out  of  the  mast-head  the  cry  came  down : 

"  Nigh  to  the  shores  of  Norroway 

The  good  ship  Dragon  rides  full  sail, 

Driving  ahead  before  the  gale  !" 

"  Ho  !  to  the  haven  !"  King  Olaf  cried, 

And  smote  the  eye  of  tlie  Ox  with  liis  hand. 
It  leaped  so  madly  along  tlie  tide 

That  never  a  sailor  on  deck  could  stand ; 
But  Olaf  lashed  them  firm  and  fast. 
With  trusty  cords,  to  the  strong  oak  maat. 


164  PRACTICAL   ELOCUTION. 

"  How,  who,"  tlu'  (irliiisman  wiid,  "  will  guide 

The  vessel  ui)ou  the  tossing  sea  ?" 
"That  will  I  do!"  King  Olaf  cried, 

"  And  no  man's  life  shall  be  lost  through  me." 
Like  a  living  coal  his  dark  eye  glowed, 
As  swift  to  the  helnisniau's  ])lace  he  strode. 

Looking  neither  to  left  nor  right, 

Toward  the  land  he  sailed  right  in, 
Steering  straight  as  a  line  of  light ; 
"  So  must  I  run  if  I  would  win  ; 

Faith  is  stronger  than  hills  or  rocks, 
Over  the  land  speed  on,  good  Ox  !" 

Into  the  valleys  the  waters  rolled  ; 

Hillocks  and  meadows  disappeared  ; 
Grasping  the  helm  in  his  iron  hold, 
On,  right  onward,  St.  Olaf  steered  ; 
High  and  higher  the  blue  waves  rose ; 
"  On  !"  he  shouted,  "  no  time  to  lose !" 

Swifter  and  swifter  across  the  foam 

The  quivering  Ox  leaped  over  the  track, 
Till  Olaf  came  to  his  boyhood's  home ; 
Then,  fast  as  it  rose,  tlie  tide  fell  back. 

And  Olaf  was  king  of  the  Avhole  Norseland, 
When  Harold,  the  thiid  day,  reached  the  strand. 

Such  was  the  sailing  of  Olaf,  the  king, 

Monarch  and  saint  of  Norroway  ; 
In  view  of  whose  wondrous  pros])ering. 
The  Norse  have  a  saying  unto  this  day  : 
"  As  Harold  Haardrade  found  to  his  cost, 
Time  spent  in  praying  is  never  lost !" 

Alice  Williams  Brothertok. 


SUPPOSED   SPEECH   OF   JOHN   ADAMS.  265 


SUPPOSED  SPEECH  OF  JOHN  ADAMS  ON  THE 
DECLARATION  OF  INDEPENDENCE. 


SINK  or  swim,  live  or  die,  survive  or  perisli,  I  give  my 
hand  and  luy  heart  to  this  vote.     It   is  true,  indeed, 
that  in  the  beginning  we  aimed  not  at  independence.     But 
there's  a  Divinity  which  shapes  our  ends.     The  injustice 
of  England  has  driven  us  to  ai-ms  ;  and,  blinded  to  her 
own  interest,  for  our  good,  she  has  obstinately  persisted,  till 
independence  is  now  within  our  grasp.     We  have  but  to 
reach  forth  to  it,  and  it  is  ours.      Why  then  should  M'e 
defer  the  Declaration?     Is  any  man  so  weak  as  now  to 
hope  for  a  reconciliation  with  England,  which  shall  leave 
either  safety  to  the  country  and  its  liberties,  or  safety  to 
his  own  life  and  his  own  honor  ?     Are  not  you,  sir,  who  sit 
in  that  chair,  is  not  he,  our  venerable  colleague  near  you, 
are  you  not  both  already  the  proscribed  and  predestined 
objects  of  punishment  and  of  vengeance  ?     Cut  oif  from 
all  hope  of  royal  clemency,  what  are  you,  what  can  you  be, 
while  the  power  of  England  remains,  but  outlaws  ?     If  we 
postpone  independence,  do  we  mean  to  carry  on  or  to  give 
up  the  war  ?     Do  we  mean  to  submit  and  consent  that  we 
oui-selves  shall  be  ground  to  powder,  and  our  country  and 
its  rights  trodden  down  in  the  dust  ?     I  know  we  do  not 
mean  to  submit.     We  never  shall  submit.     Do  we  intend 
to  violate  that  most  solemn  obligation  ever  entered  into  by 
men,  that  plighting  before  God,  of  our  sacred  honor  to 
VVashington  when,  putting  him  forth  to  incur  the  dangers 
of  war  as  well  as  the  political  hazards  of  the  times,  we 
promised  to  adhere  to  him,  in  every  extremity,  with  our 
fortunes  and  our  lives?     I  know  there  is  not  a  man  here 
who  would  not  rather  see  a  general  conflagration  sweep 
12 


266^  PRACTICAl.   ELOCUTIO*. 

over  the  Itind  or  an  eartlHiuakc  sink  it,  tlian  one  jot  or 
tittle  of  that  plighted  faith  fall  to  the  grouiul.  The  war, 
thtii,  must  go  on.  Wc  luuist  tight  it  through.  And  if  the 
war  must  go  on,  why  put  (jtf  longer  the  Declaration  of  In- 
dependence ?  That  measure  will  strengthen  us.  It  will 
give  us  character  abroad. 

If  we  fail  it  can  be  no  worse  for  us.  But  we  shall  not 
fail.  The  cause  will  raise  up  armies ;  the  cause  will  create 
navies.  The  people,  the  people,  if  we  are  true  to  them, 
will  carrj'  us,  and  will  cai-ry  themselves,  gloriously  through 
this  struggle.  I  care  not  how  fickle  other  people  have  been 
found.  I  know  the  people  of  these  colonies,  and  I  know 
that  resistance  to  British  aggression  is  deep  and  settled  in 
their  hearts,  and  cannot  be  eradicated.  Every  colony,  in- 
deed, has  expressed  its  willingness  to  follow,  if  we  but  take 
the  lead.  Sir,  the  Declaration  will  inspire  the  people  with 
increased  courage.  Instead  of  a  long  and  bloody  war  for 
restoration  of  privileges,  for  redress  of  grievances,  for 
chartered  immunities,  held  under  a  British  King,  set  be- 
fore them  the  glorious  object  of  entire  independence,  and  it 
will  breathe  into  them  anew  the  breath  of  life.  Read  this 
Declaration  at  the  head  of  the  army  ;  every  sword  will  be 
drawn  from  its  scabbard,  and  the  solemn  vow  uttered  to 
maintain  it,  or  to  perish  on  the  bed  of  honor.  Publish  it 
from  the  pulpit ;  religion  will  approve  it,  and  the  love  of 
religious  liberty  will  cling  round  it,  resolved  to  stand  with 
it  or  fall  with  it.  Send  it  to  the  public  halls  ;  proclaim  it 
there  ;  let  them  hear  it  who  heard  the  first  roar  of  the 
enemy's  cannon  ;  let  them  see  it,  who  saw  their  brothers 
and  their  sons  fall  on  the  field  of  Bunker  Hill,  and  in  the 
streets  of  Lexington  and  Concord,  and  the  very  walls  will 
cry  out  in  its  support. 

Sir,  I   know  the    uncertainty  of  human   affairs,  but    I 


StTPPOSED   SPEECH   OF   JOHN   ADAMS.  267 

me,  I  see  clearly,  through  this  day's  business.  You  and  I 
indeed  may  rue  it.  We  may  not  live  to  the  time  when 
this  Declaration  shall  be  made  good.  We  may  die ;  die 
colonists  ;  die  slaves  ;  die,  it  may  be,  ignominiously  and  on 
the  scaffold.  Be  it  so.  Be  it  so.  If  it  be  the  pleasure  of 
Heaven  that  my  country  shall  require  the  poor  offering  of 
my  life,  the  victim  shall  be  ready  at  the  appointed  hour  of 
sacrifice,  come  when  that  hour  may.  But  while  I  do  live, 
let  me  have  a  country,  or  at  least  the  hope  of  a  country, 
and  that  a  free  country. 

But  whatever  may  be  our  fate,  be  assured,  be  assured, 
that  this  Declaration  will  stand.  It  may  cost  treasure, 
and  it  may  cost  blood  ;  but  it  will  stand  and  it  will  richly 
compensate  for  both.  Through  the  thick  gloom  of  the 
present,  I  see  the  brightness  of  the  future  as  the  sun  in 
heaven.  We  shall  make  this  a  glorious,  an  immortal  day. 
When  we  are  in  our  graves  our  children  wtll  honor  it. 
They  will  celebrate  it  with  thanksgiving,  with  festivity, 
with  bonfires,  and  illuminations.  On  its  annual  return 
they  will  shed  tears,  copious,  gushing  tears,  not  of  subjec- 
tion and  slavery,  not  of  agony  and  distress,  but  of 
exultation,  of  gratitude,  and  of  joy.  Sir,  before  God,  I 
believe  the  hour  is  come.  My  judgment  approves  this 
measure,  and  my  whole  heart  is  in  it.  All  that  I  have, 
and  all  that  I  am,  and  all  that  I  hoi)e  in  this  life,  I  am 
now  ready  here  to  stake  upon  it ;  and  I  leave  off,  a^  I 
begun,  that,  live  or  die,  survive  or  perish,  I  am  for  the 
Declaration.  It  is  my  living  sentiment,  and,  by  the  bless- 
ing of  God,  it  shall  be  my  dying  sentiment— independence 
now;  and  independence  fokevkr! 

Daniel  Webster. 


268  PRACTICAL    RI.OCUTION. 

THE  CLOWN'S  BABY. 


IT  was  out  on  the  Western  frontier — 
The  miners,  ruirtred  und  brown, 
Were  gathered  around  the  posters  ; 

The  circus  had  come  to  town  ! 
The  great  tent  shone  in  the  darkness, 

Liice  a  wonderful  palace  of  light, 
And  rough  men  crowded  the  entrance — 
Siiows  didn't  come  there  every  night  1 

Not  a  Avoman's  face  among  them  ; 

]\Iany  a  face  that  was  bad, 
And  some  that  were  only  vacant. 

And  some  that  were  very  sad. 
And  behind  a  canvas  curtain, 

In  a  corner  of  the  j)lace 
The  Clown,  with  chalk  and  vermillion. 

Was  "  making  up  "  his  face. 

A  weary  looking  woman, 

With  a  smile  that  still  was  sweet, 
ScAved  on  a  little  garment, 

With  a  cradle  at  her  feet. 
Pantaloon  stood  ready  and  waiting. 

It  was  time  for  the  going  on, 
But  the  Clown  in  vain  searched  wildly; 

The  "  property-baby  "  was  gone.' 

He  murmured  imj)atiently  hunting; 

"  It's  strange  that  I  cannot  find — 
There!  I've  looked  in  every  corner  ; 

It  must  have  been  left  behind ;" 


THE  clown's  baby.  269 

The  miners  Avere  stamping  and  shouting, 

They  were  not  patient  men. 
The  Clown  bent  over  the  cradle — 

"  I  must  take  you,  little  Ben  !" 

The  mother  started  and  shivered, 

But  trouble  and  want  were  near ; 
She  lifted  her  baby  gently, 

"  You'll  be  very  careful,  dear  ?" 
"  Careful  ?     You  foolish  darling—" 

How  tenderly  it  was  said  ! 
What  a  smile  shone  thrcjugh  the  chalk  and  paint — ■ 

"  Why,  I  love  each  hair  of  his  head !" 

The  noise  rose  with  an  uproar. 

Misrule  for  the  time  was  king ; 
The  Clown  with  a  foolish  chuckle, 

Bolted  into  the  ring — 
But  as,  with  a  squeak  and  flourish 

The  fiddles  closed  their  tune, 
*'  You'll  hold  him  as  if  he  were  made  of  glaes," 

Said  the  Clown  to  Pantaloon. 

The  jovial  fellow  nodded  ; 

"  I've  a  couple  myself,"  he  said, 
"  I  know  how  to  handle  'em,  bless  you  ! 

Old  fellow,  go  ahead  !" 
The  fun  gi-ew  fast  and  furious, 

And  not  one  of  all  the  crowd 
Had  guessed  that  the  baby  was  alive, 

When  he  suddenly  crowed  aloud. 

Oh  that  baby  laugh  !     It  was  echoed 

From  the  benches  with  a  ring. 
And  the  roughest  customer  tliere  sprung  up 

With  "  Boys,  it's  the  real  thing  I" 


270  PRACTICAL  ELOCUTION 

The  ring  was  jammed  in  a  minute, 
Not  a  man  that  did  not  strive 

For  "  a  shot  Jit  holding  the  baby  " — 
The  baby  tluit  \va.s  "alive!" 

He  was  thronged  by  kneeling  suitors 

In  the  midst  of  the  dusty  ring, 
And  he  held  his  court  right  royally,— 

The  fair  little  baby-king, — 
Till  one  of  the  shouting  courtiers, 

A  man  with  a  bold,  hard  face, 
The  talk,  for  miles,  of  the  country, 

And  the  terror  of  the  place, 

Raised  the  little  king  to  his  shoulder. 

And  chuckled,  "  Look  at  that !" 
As  the  chubby  fingei-s  clutched  his  hair, 

Then,  "  Boys,  hand  round  the  hat !" 
There  never  was  such  a  hatful 

Of  silver  and  gold  and  notes. 
People  are  not  always  penniless 

Because  they  don't  wear  coats ! 

And  then,  "  Three  cheere  for  the  baby !" 

I  tell  you  those  cheers  were  meant. 
And  the  way  in  which  they  were  given 

Was  enough  to  raise  the  tent. 
And  then  there  was  sudden  silence, 

And  a  gruff  old  miner  said, 
"  Come,  boys,  enough  of  this  rumpus  ! 

It's  time  it  was  put  to  bed." 

So,  looking  a  little  shee])ish. 

But  with  foces  strangely  bright, 

The  audience,  somewhat  lingeringly, 
Flocked  out  into  the  night. 


EULOGY   ON   GENERAL  GRANT.  271 

And  the  bold-faced  leader  chuckled 

"  He  wasn't  a  bit  afraid ! 
He's  as  game  as  he  is  good  looking — 

Boys,  that  was  a  show  that  paid  !" 


EXTRACT  FROM  A  EULOGY  ON  GENERAL 
GRANT. 


GRANT  is  one  of  the  few  men  in  history  who  did  more 
than  was  expected.  Some  men  excite  great  ex])ecta- 
tion  by  the  brilliancy  of  their  preparations  ;  but  this  quiet, 
meditative,  undemonstrative  man  exceeded  all  expectations 
by  doing  more  than  he  had  promised,  and  by  doing  what 
all  others  had  failed  to  do.  Others  had  done  their  best 
with  a  conscientiousness  worthy  of  all  praise ;  they  had 
worked  up  to  their  maximum  strength  and  accomplished 
much  ;  they  had  contributed  largely  to  the  final  victory, 
and  shall  receive  well  of  their  country.  It  was  no  fault 
of  theirs  if  nature  had  not  endowed  tliem  for  the 
ultimate  achievement.  But  this  man,  pre-eminent  by  the 
happy  combination  of  both  nature  and  Providence,  rose 
superior  in  the  supreme  moment,  forced  all  things  to  do 
his  bidding,  and  thus  led  the  way  to  victory. 

His  latent  resources  seemed  inexhaustible.  Was  Fort 
Donelson  esteemed  impregnable?  It  yielded  to  his  com- 
mand for  an  immediate  and  "  unconditional  surrender." 
Did  Vicksburg  defy  his  sixth  plan  of  capture?  His 
seventh  plan  was  a  success.  Did  Richmond  liurl  defiance 
at  all  previous  attempts  ?  His  final  effort  was  a  triumph, 
and  over  the  doomed  capital  of  tlie  Confederacy  triumph- 
antly floated  the  flag  of  the  Union. 


272  PRACTICAL    EI-OCl'TION. 

Rut  whence  the  secret  of  the  power  of  this  one  life  on 
the  thought  of  the  world  and  the  love  of  mtinkind? 

Others  have  insured  for  themselves  imperishable  re- 
nown for  their  martial  prowess,  for  their  profound  states- 
manship, for  the  display  of  their  marvelous  intellects  ;  but 
where  in  all  the  annals  of  the  earth  and  time  shall  we  find 
another  who  more  than  he  stamped  all  that  he  said  and  all 
that  he  did  with  such  purity  and  loftiness  of  character? 
His  individuality  was  most  intense.  This  was  the  source 
of  his  strength,  the  power  of  his  action,  the  glory  of  liis 
achievements.  He  wa.s  never  other  than  himself  He 
acted  with  a  spontaneity  all  his  own. 

And  what  were  the  elements  of  that  character,  so  unique, 
symmetrical,  and  now  immortal  ?  God  had  endowed  him 
with  an  extraordinary  intellect.  For  forty  years  he  was 
hidden  in  comparative  obscurity,  giving  no  indications  of 
his  wondrous  capacity  ;  but  in  those  four  decades  he  Avaa 
maturing,  and  at  the  appointed  time  God  lifted  the  veil  of 
obscurity,  called  upon  him  to  save  a  nation  and  give  a  new 
direction  to  the  civilization  of  the  world.  How  calm  his 
judgment,  how  clean  and  quick  and  accurate  his  imagina- 
tion, how  vast  and  tenacious  his  memory  ! 

From  this  better  nature  and  higher  mission  as  a  warrior 
sprang  his  conduct  toward  the  vanquished.  He  had  no 
hatred  in  his  heart.  His  heart  was  as  tender  as  a  woman's. 
He  was  not  vindictive.  His  holy  evangel  to  the  nation 
was,  "  Let  us  have  peace."  Hence,  toward  the  close  of  the 
war,  those  who  had  fought  against  him  saw  that  there  was 
no  safety  but  in  the  arms  of  their  conqueror.  In  his 
dying  chamber  he  grasped  the  hand  of  him  whose  sword 
was  the  first  he  had  won,  and  said  :  "  I  have  witnessed 
since  my  sickness  just  what  I  wished  to  see  ever  since  the 
war — harmony  and  good  feeling  between  the  sectionB." 


"bay  billy."  273 

Such  is  the  character  of  the  true  conqueror.  Only  such 
live  in  the  grateful  recollections  of  mankind.  Away  with 
heroes  without  humanity  !  They  may  force  our  respect  and 
seduce  our  admiration,  but  they  can  never  win  our  love. 
God  planted  goodness  in  man  as  the  image  of  Himself 
Crreatness  should  spring  from  goodness.  This  is  the  price 
of  hearts.  Away  with  your  Alexanders  and  Caesars  and 
Tamerlanes  !  Let  them  be  to  our  Christian  civilization 
what  the  gigantic  monsters  of  a  departed  period  are  in 
zoological  history — types  of  an  inferior  age.  In  the  on- 
coming centuries  mankind  will  honor  only  those  who  drew 
the  sword  in  defense  of  human  rights  and  in  support  of  the 
constitutional  authority.  Then,  All  hail,  Mount  Vernon ! 
Then,  All  hail,  Mount  McGregor ! 

J.  P.  Newman. 


"BAY    BILLY." 


TTIWAS  the  last  fight  at  Fredericksburg- 
-I-      Perhaps  the  day  you  reck, 
Our  boys,  the  Twenty-second  Maine, 

Kept  Early's  men  in  check. 
Just  where  Wade  Hampton  boomed  away 
The  fight  went  neck  and  neck. 

All  day  we  held  the  weaker  wing. 

And  held  it  with  a  will  ; 
Five  several  stubborn  times  we  charged 

The  battery  on  the  hill, 
And  five  times  beaten  back,  reformed, 

And  kept  our  columns  still. 
12* 


874  PRACTICAL    ELOCUTION. 

At  last  from  out  the  centre  fight 

Spurred  up  a  General's  Aid. 
"  That  battery  must  silenced  be !" 

He  cried,  as  past  he  sped. 
Our  Colonel  simply  touched  his  cap, 

And  then,  ^vith  measured  tread, 

To  lead  the  crouching  line  once  more 

The  grand  old  fellow  came. 
No  wounded  man  but  raised  his  head 

And  strove  to  gasp  his  name, 
And  those  who  could  not  speak  nor  stir, 

"  God  blessed  him  "  just  the  same. 

,     For  he  was  all  the  world  to  us, 
That  hero  gray  and  grim  ; 
Right  well  he  knew  that  fearful  slope 

We'd  climl)  Avith  none  but  him, 
Though  while  his  white  head  led  the  waj 
We'd  charge  hell's  portals  in. 

This  time  we  were  not  half  way  up. 
When,  midst  the  storm  of  shell. 

Our  leader,  with  his  sword  upraised, 
Beneath  our  bay'nets  fell. 

And,  as  we  bore  him  back,  the  foe 
Set  up  a  joyous  yell. 

Our  hearts  went  with  him.     Back  we  swept. 

And  when  the  bugle  said, 
"Up,  charge  again  !"  no  man  was  there 

But  hung  his  dogged  head. 
**  We've  no  one  left  to  lead  us  now," 

The  sullen  soldiers  said. 


BAY    BILLY."  275 


Just  then,  before  the  laggard  line 
The  Colonel's  horse  we  sj^ied — 

Bay  Billy,  with  his  trappings  on, 
His  nostril  swelling  wide. 

As  though  still  on  his  gallant  back 
The  master  sat  astride. 

Right  royally  he  took  the  place 

That  was  of  old  his  wont, 
And  with  a  neigh,  that  seemed  to  say 

Above  the  battle's  brunt, 
"  How  can  the  Twenty-second  charge 

If  I  am  not  in  front  ?" 

Like  statues  we  stood  rooted  there, 

And  gazed  a  little  space  ; 
Above  the  floating  mane  Ave  missed 

The  dear  familiar  face  ; 
But  we  saw  Bay  Billy's  eye  of  fire, 

And  it  gave  us  heart  of  grace. 

No  bugle  call  could  rouse  us  all 
As  that  brave  sight  had  done  ; 

Down  all  the  battered  line  we  felt 
A  lightning  impulse  run  ; 

Up,  up  the  hill  we  followed  Bill, 
And  captured  every  gun  ! 

And  when  upon  the  conquered  height 
Died  out  the  battle's  hum, 

Vainly  'mid  living  and  the  dead 
We  sought  our  leader  duml) ; 

It  seemed  as  if  a  spectre  steed 
To  win  that  day  had  come. 


276  PRACTICAL    ELOCUTION. 

At  last  tho  inorning  broke.     Tlie  lark 

Sang  in  the  merry  skies 
As  if  to  e'en  the  sleepers  there 

It  said,  Awake,  arise  ! 
Though  naught  but  tliat  last  trump  of  aII 

Could  ope  their  heavy  eyes. 

And  then  once  more,  with  banners  gay. 
Stretched  out  the  long  brigade  ; 

Trimly  upon  the  furrowed  field 
The  troops  stood  on  parade, 

And  bravely  'mid  the  ranks  were  closed 
The  gaps  the  fight  had  made. 

Not  half  the  Twenty-second's  men 
AVere  in  their  place  that  morn, 

And  Corp'ral  Dick,  who  yester-noon 
Stood  six  brave  fellows  on, 

Now  touched  my  elbow  in  the  ranks. 
For  all  between  were  gone. 

Ah !  who  forgets  that  dreary  hour 

"When,  as  witla  misty  eyes, 
To  call  the  old  familiar  roll 

The  solemn  Sergeant  tries — 
One  feels  that  thumping  of  the  heart 

As  no  prompt  voice  replies. 

And  as  in  faltering  tone  and  slow 
The  last  fcw^  names  were  said, 

Across  the  field  some  missing  horse 
Toiled  up  with  weary  tread. 

It  caught  the  Sergeant's  eye,  and  quick 
Bay  Billy's  name  was  read. 


WORDS    ON    LANGUAGE.  277 

Yes !  there  the  old  bay  hero  stood, 

All  safe  from  battle's  harms, 
And  ere  an  order  could  be  heard, 

Or  the  bugle's  quick  alarms, 
Down  all  the  front,  from  end  to  end, 

The  troops  presented  arms  ! 

Not  all  the  shoulder  straps  on  earth 

Could  still  our  mighty  cheer. 
And  ever  from  that  famous  day, 

When  rang  the  roll-call  clear, 
Bay  Billy's  name  was  read,  and  then 

The  whole  line  answered  "  Here !" 

Frank  H.  Gassaway. 


WORDS  ON  LANGUAGE. 


SOME  Avords  on  language  may  be  well  applied, 
And  take  them  kindly,  though  they  touch  your  pride, 
Words  lead  to  things  ;  a  scale  is  more  precise, — 
Coarse  speech,  bad  grammar,  swearing,  drinking,  vice. 

Our  cold  northeaster's  icy  fetter  clips 
The  native  freedom  of  the  Saxon  11  [)s  ; 
See  the  l^rown  })easant  of  the  plastic  South, 
How  all  his  passions  play  al)()ut  iiis  mouth  ! 
With  us,  the  feature  that  transmits  the  soul, 
A  frozeu,  passive,  palsied  breathing-hole. 

The  crampy  shackles  of  tlie  plougliboy's  walk 
Tie  the  small  muscles  wlicn  he  strives  to  talk  ; 
Not  all  the  pumice  of  the  jxilished  town 
Can  smooth  this  roughness  of  the  barnyard  down ; 


278  PRACTICAL   ELOCUTION. 

Rich,  houorcd,  titled,  he  betrays  his  race 
By  this  one  mark, — he's  awkward  in  the  face  ;— 
Nature's  rude  impress,  long  before  he  knew 
The  sunny  street  that  holds  the  sifted  few. 

It  can't  be  helped,  though,  if  we're  taken  young, 
We  gain  some  freedom  of  the  li])s  and  tongue ; 
But  school  and  college  often  try  in  vain 
To  break  the  padlock  of  our  boyhood's  chain  ; 
One  stubborn  word  will  prove  this  axiom  true ; 
No  quondam  rustic  can  enunciate  view. 

A  few  brief  stanzas  may  be  well  employed 
To  speak  of  errors  we  can  all  avoid. 
Learning  condemns  beyond  the  reach  of  hope 
The  careless  churl  who  speaks  of  soap  for  soap ; 
Her  edict  exiles  from  her  fair  abode 
The  clownish  voice  that  utters  road  for  road  ; 
Less  stern  to  him  who  calls  his  coat  a  c5at, 
And  steers  his  boat,  believing  it  a  boat. 
She  jiardoned  one,  our  classic  city's  boast. 
Who  said,  at  Cambridge,  mdst  instead  of  most ; 
But  knit  her^brows,  and  stamp'd  her  angry  foot, 
To  hear  a  teacher  call  a  root  a  root. 

Once  more ;  speak  clearly,  if  you  speak  at  all  ; 

Carve  every  word  before  you  let  it  fall ; 

Don't,  like  a  lecturer  or  dramatic  star, 

Try  over  hard  to  roll  the  British  R  ; 

Do  put  your  accents  in  the  proper  s2:)ot ; 

Don't— let  me  beg  you— don't  say  "  How  ?"  for  "  What  ?" 

And,  when  you  stick  on  conversation's  burs, 

Don't  strew  the  pathway  with  those  dreadful  urs. 

0.    W.   HOLMEg. 


AN   EXTRACT   FROM   SNOW-BOUND.  279 

AN  EXTRACT  FRO^I  SNOW-BOUND. 


UNWARMED  by  any  sunset  light 
The  gray  day  darkened  into  night, 
A  night  made  hoary  witli  the  swarm 
And  whirl-dance  of  the  blinding  storm, 
As  -zigzag  wavering  to  and  fro 
Crossed  and  recrossed  the  winged  snow : 
And  ere  the  early  bed-time  came 
The  white  drift  piled  the  wandow^-frame, 
And  through  the  glass  the  clothes-line  posts 
Looked  in  like  tall  and  sheeted  ghosts. 

So  all  night  long  the  storm  roared  on  : 

In  starry  flake,  and  ])ellicle, 

And,  when  the  second  morning  shone, 

We  looked  upon  a  world  unknown. 

On  nothing  we  could  call  our  own. 

Around  the  glistening  wonder  bent 

The  blue  walls  of  the  firmament, 

No  cloud  above,  no  earth  below, — 

A  universe  of  sky  and  snow  ! 

The  old  familiar  sights  of  ours 

Took  marvelous  shapes  ;  strange  domes  and  towers 

Rose  up  where  sty  or  corn-crib  stood, 

Or  garden  wall,  or  belt  of  wood  ; 

A  smooth  white  mound  the  brush-i)ile  showed, 

A  fenceless  drift  what  once  was  road  ; 

The  bridle-post  an  old  man  sat 

With  loose-flung  coat  and  high  cocked  ha4 ; 

The  well-curb  had  a  (Miiiiese  roof; 

And  even  the  long  swee]),  high  aJvof, 


280  PRACTICAL   ELOCUTIOlf. 

In  its  slant  splendor,  seemed  to  tell 
Of  Pisa's  leaning  niiradt. 

A  proni})t,  decisive  man,  no  breath 
Our  father  wasted  :  "  Boys,  a  path  !" 
Well  pleased,  (for  when  did  farmer  boy 
Count  sucli  a  summons  less  than  joy  ?) 
Our  Iniskins  on  our  feet  we  drew  ; 

With  mittened  hands,  and  caps  drawn  low, 
To  guard  our  necks  and  ears  from  snow, 
We  cut  the  solid  whiteness  through. 
And,  where  the  drift  was  deepest,  made 
A  tunnel  walled  and  overlaid 
AVith  dazzling  crystal ;  we  had  read 
Of  rare  Aladdin's  wondrous  cave, 
And  to  our  own  his  name  we  gave, 
Witli  many  a  wish  the  hick  were  oura 
To  test  his  lamp's  supernal  powers. 
We  reached  the  l«ii-n  with  merry  din, 
And  roused  the  i)ris()ned  brutes  within. 

All  day  the  gusty  north-wind  bore 
The  loosening  drift  its  breath  before  ; 
Low  circling  round  its  southern  zone, 
The  sun  through  dazzling  snow-mist  shone. 
No  church-bell  lent  its  Christian  tone 
To  the  savage  air,  no  social  smoke 
Curled  over  woods  of  snow-hung  oak. 
As  night  drew  on,  and,  from  the  crest 
Of  wooded  knolls  that  ridged  the  west. 
The  sun,  a  snow-blown  tnivcler.  sank 
From  sight  beneath  the  smotliering  bank, 
We  piled,  with  care,  our  nightly  stack 
Of  wood  against  the  chimney-back, — 


JOHN  BUNTAN.  261 

The  oaken  log,  green,  huge,  and  thick, 
And  on  its  top  the  stout  back  stick  ; 
The  knotty  forestick  hvid  apart, 
And  filled  between  with  curious  art 
The  ragged  brush  ;  then,  hovering  near, 
We  watched  the  first  red  blaze  appear, 
Heard  the  sharp  crackle,  caught  the  gleam 
On  whitewashed  wall  and  sagging  beam, 
Until  the  old,  rude-furnished  room 
Burst,  flower-like,  into  rosy  bloom ; 
While  radiant  with  a  mimic  flame 
Outside  the  spai'kling  drift  became, 
And  through  the  bare-boughed  lilac-tree 
Our  own  warm  hearth  seemed  blazing  free. 

J.  G.  Whittier. 


JOHN  BUNYAK 


BUNYAN  is  almost  the  only  writer  that  ever  gave  to 
the  abstract  the  interest  of  the  concrete.  ]n  the 
works  of  many  celebrated  authors  men  are  mere  personifi- 
cations. We  have  not  an  Othello,  but  jealousy ;  not  an 
lago,  but  perfidy ;  not  a  Brutus,  but  patriotism.  The 
mind  of  Bunyan,  on  the  contrary,  was  so  imaginative  that 
personifications,  when  he  dealt  with  them,  became  men.  A 
dialogue  between  two  qualities,  in  his  dream,  has  more 
dramatic  effect  than  a  dialogue  between  two  human  beings 
in  most  plays. 

The  style  of  Bunyan  is  delightful  to  every  reader,  and 
invaluable  as  a  study  to  every  person  who  wishes  to  obtain 
a  wide  command  over  the  English  language.  The  vocabu- 
lary is  the  vocabulary  of  the  common  peojjle.     There  is 


282  PRACTICAL  ELOCUTION. 

not  an  expression,  if  we  except  a  few  technical  terms  of 
theology,  which  would  puzzle  the  rudest  peasant.  We 
have  observed  several  j^ages  which  do  not  contain  a  single 
word  of  more  than  two  syllables.  Yet  no  writer  has  said 
more  exactly  what  he  meant  to  say.  For  magniticcnce, 
for  pathos,  for  vehement  exhortation,  for  subtile  disquisi- 
tion, for  every  purj)ose  of  the  poet,  the  orator,  and  the  divine, 
this  homely  dialect,  the  dialect  of  plain  workiugmen,  was 
perfectly  sufficient.  There  is  no  book  in  our  literature  on 
which  we  would  so  readily  stake  the  fame  of  the  old  un- 
polluted English  language ;  no  book  which  shows  so  well 
how  rich  that  language  is,  in  its  own  proper  wealth,  and 
how  little  it  has  been  improved  by  all  that  it  has  borrowed. 
Cowper  said,  fifty  or  sixty  years  ago,  that  he  dared  not 
name  John  Bunyan  in  his  verse  for  fear  of  moving  a  sneer. 
We  live  in  better  times ;  and  we  are  not  afraid  to  say,  that 
though  there  were  many  clever  men  in  England  during 
the  latter  half  of  the  seventeenth  century,  there  were 
only  two  great  ci'eative  minds.  One  of  these  produced 
the  "  Paradise  Lost,"  the  other  the  "  Pilgrim's  Progress." 

Macal'lay. 


LOCHINVAR'S  RIDE. 


0  YOUNG  Lochinvar  is  come  out  of  the  West ! 
Through  all  the  wide  border  his  steed  was  the  best ; 
And,  save  his  good  broadsword,  he  weapons  had  none  ; 
He  rode  all  unarmed  and  he  rode  all  alone. 
80  faithful  in  love,  and  so  dauntless  in  war. 
There  never  was  knight  like  the  young  Lochinvar. 

He  stayed  not  for  brake,  and  he  stopped  not  for  stone ; 
He  swam  the  Eske  river  where  ford  there  was  none : 


lochinvar's  ride.  283 

But,  ere  he  alighted  at  Netherby  gate, 
The  bride  had  consented — the  galhmt  came  late  ; 
For  a  laggard  in  love,  and  a  dastard  in  war, 
Was  to  wed  the  fair  Ellen  of  brave  Lochinvar. 

So  boldly  he  entered  the  Netherby  hall. 

Among  bridesmen,  and  kinsmen,  and  brothers,  and  all. 

Then  spoke  the  bride's  ftither,  his  hand  on  his  sword — 

For  the  poor  craven  bridegroom  said  never  a  word — 

"  O  come  ye  in  peace  here,  or  come  ye  in  war. 

Or  to  dunce  at  our  bridal,  young  Lord  Lochinvar?" 

"  I  long  wooed  your  daughter  ; — my  suit  you  denied  ; 
Love  swells  like  the  Solway,  but  ebbs  like  its  tide  ; 
And  now'  I  am  come,  with  this  lost  love  of  mine 
To  lead  but  one  measure — drink  one  cup  of  Avine. 
There  be  maidens  in  Scotland,  more  lovely  by  far. 
That  would  gladly  be  bride  to  the  young  Lochinvar." 

The  bride  kissed  the  goblet ;  the  knight  took  it  up  ; 
He  quaffed  off  the  wine,  and  he  threw  down  the  cup  ; 
She  looked  down  to  blush,  and  she  looked  up  to  sigh, 
With  a  smile  on  her  lip,  and  a  tear  in  her  eye  ; 
He  took  her  soft  hand  ere  her  mother  could  bar ; — 
"  Now  tread  we  a  measure  ?"  said  young  Lochinvar. 

So  stately  his  form  and  so  lovely  her  face. 
That  never  a  hall  such  a  galliard  did  grace  ; 
While  her  mother  did  fret,  and  her  father  did  fume, 
And  the  bridegroom  stood  dangling  his  bonnet  and  plume, 
And  the  bridemaidens  whispered,  "  'Twere  better,  by  far, 
To  have  matched  our  fair  cousin  with  young  Lochinvar." 

One  touch  to  her  hand,  and  one  word  in  lier  ear. 
When  they  reached  the  hall  door,  where  the  charger  stood 
near ; 


284  PRACTICAL    ELOCUTION. 

So  light  to  tlie  croup  the  fair  hidy  he  swung, 
So  light  to  the  saddle  before  her  lie  sprung; 
"  She  is  won  !  we  are  gone,  over  bank,  bush,  and  scaur  ; 
They'll  have  fleet  steeds  that  follow  !"  (juoth  young  Loch 
invar. 

There  was  mounting  'mong  Grienies  of  the  Netherby  clan  ; 
Fosters,  Fenwicks,  and  Musgraves,  they  rode  and  they 

ran  ; 
There  was  racing  and  chasing  on  Cannobie  lea, 
But  the  lost  bride  of  Xetherby  ne'er  did  they  see. 
So  daring  in  love,  and  so  dauntless  in  war. 
Have  ye  e'er  heard  of  gallant  like  young  Lochinvar  ? 

Sir  Walter  Scott. 


THE  TWO  ROADS. 

Translated  from  the  (Jerman  of  Jean  Paul  Richter. 


IT  was  New  Year's  night.  An  aged  man  was  standing 
at  a  window.  He  raised  his  mournful  eyes  toward  the 
deep  blue  sky,  where  the  stars  were  floating,  like  white 
lilies,  on  the  surface  of  a  clear,  calm  lake.  Then  he  cast 
them  on  the  earth,  where  few  more  hopeless  beings  than 
himself  now  moved  toward  their  certain  goal — the  tomb. 

Already  he  had  passed  sixty  of  the  stages  which  lead  to 
it,  and  he  had  brought  from  his  journey  nothing  but 
errors  and  remorse.  His  health  was  destroyed,  his  mind 
vacant,  his  heart  sorrowful,  and  his  old  age  devoid  of 
comfort. 

The  davs  of  his  youth  rose  up  in  a  vision  before  him, 
and  he  recalled  the  solemn  moment  when  his  father  had 
\)laced   him  at    the  entrance  of  two  roads, — one  leading 


THE   TWO    ROADS.  285 

into  a  peaceful,  sunny  land,  covered  with  a  fertile  harvest, 
and  resounding  witli  soft,  sweet  songs ;  while  the  other 
conducted  the  wanderer  into  a  deep,  dark  cave,  whence 
there  was  no  issue,  where  poison  flowed  instead  of  water, 
and  where  serpents  hissed  and  crawled. 

He  looked  toward  the  sky,  and  cried  out  in  his  agony  : 
"  O  youth,  return  !  0  my  father,  place  nie  once  more  at  the 
entrance  to  life,  that  I  may  choose  the  better  way  !"  But 
the  days  of  his  youth  and  his  father  had  both  passed  away. 

He  saw  wandering  lights  floating  away  over  dark 
marshes,  and  then  disappear.  These  were  the  days  of  his 
wasted  life.  He  saw  a  star  fall  from  heaven,  and  vanish 
in  darkness.  This  was  an  emblem  of  himself;  and  the 
sharp  arrows  of  unavailing  remorse  struck  home  to  his 
heart.  Then  he  remembered  his  early  companions,  who 
entered  on  life  with  him,  but  who,  having  trod  the  paths 
of  virtue  and  of  labor,  were  now  honoi-ed  and  happy  on 
this  New  Year's  night. 

The  clock,  in  the  high  church  tower,  struck,  and  the 
sound,  falling  on  his  ear,  recalled  his  parents'  early  love 
for  him,  their  erring  son  ;  the  lessons  they  had  taught  him; 
the  prayers  they  had  oflered  up  on  his  behalf.  Over- 
whelmed with  shame  and  grief,  he  dared  no  longer  look 
toward  that  heaven  where  his  father  dwelt  ;  his  darkened 
eyes  dropped  tears,  and  with  one  despniring  efllirt  he  cried 
aloud  :  "  Come  back,  my  early  days !  come  back  !" 

And  his  youth  did  return,  for  all  this  was  but  a  dream 
Avhich  had  visited  his  slumbers  on  New  Year's  night.  He 
was  still  young  ;  his  faults  alone  were  real.  He  thanked 
God  fervently  that  time  was  still  his  own  ;  that  he  had  not 
yet  entered  the  deep,  dark  cavern,  but  that  he  was  free  to 
tread  the  road  leading  to  the  peaceful  land  where  sunjiy 
harvests  wave. 


286  PRACTICAL   ELOCUTION. 

Ye  who  still  linger  on  the  threshold  of  life,  doubting 
which  path  to  choose,  remember  that,  when  years  are 
passed,  and  your  feet  stumble  on  the  dark  mountain,  you 
will  cry  bitterly,  but   cry  in  vain  :  "  O  youth,  return  ! 

O  GIVE  ME  BACK  MY  EARLY  DAYS  !" 


THE  REVOLUTIONARY  RISING. 


By  permission  of  J.  B.  Lippincott  Co.,  publishers  of  "  Read's  Poems. 


OUT  of  the  North  the  wild  news  came, 
Far  flashing  on  its  wings  of  flame, 
Swift  as  the  boreal  light  which  flies 
At  midnight  through  the  startled  skies. 
And  there  was  tumult  in  the  air. 

The  fife's  shrill  note,  the  drum's  loud  beat, 
And  through  the  wide  land  everywhere 

The  answering  tread  of  hurrying  feet; 
While  the  first  oath  of  Freedom's  gun 
Came  on  the  blast  from  Lexington  ; 
And  Concord  roused,  no  longer  tame, 
Forgot  her  old  baptismal  name, 
Made  bare  her  patriot  arm  of  power. 
And  swelled  the  discord  of  the  hour. 

Within  its  shade  of  elm  and  oak 

The  church  of  Berkley  Manor  stood, 
There  Sunday  found  the  rural  folk. 

And  some  esteemed  of  gentle  blood. 

In  vain  their  feet  with  loitering  tread 
Passed  mid  the  graves  where  rank  is  naught, 
All  could  not  read  tlie  lesson  taught 

In  that  republic  of  the  dead. 


THE    REVOLUTIONARY    RISING.  287 

How  sweet  the  hour  of  Sabbath  talk, 

The  vale  with  peace  and  sunshine  full, 
Where  all  the  happy  people  walk, 

Decked  in  their  homespun  flax  and  wool ; 

Where  youth's  gay  hats  with  blossoms  bloom ; 
And  every  maid,  with  simple  art. 
Wears  on  her  breast,  like  her  own  heart, 

A  bud  whose  depths  are  all  perfume ; 
While  every  garment's  gentle  stir 
Is  breathing  rose  and  lavender. 

The  pastor  came ;  his  snowy  locks 

Hallowed  his  brow  of  thought  and  care ; 

And  calmly,  as  shepherds  lead  their  flocks, 
He  led  into  the  house  of  prayer. 

Then  soon  he  rose  ;  the  prayer  was  strong  ; 

The  Psalm  was  warrior  David's  song  ; 

The  text,  a  few  short  words  of  might— 
"  The  Lord  of  hosts  shall  arm  the  right  /" 

He  spoke  of  wrongs  too  long  endured, 

Of  sacred  rights  to  be  secured  ; 

Then  from  his  patriot  tongue  of  flame 
The  startling  words  for  Freedom  came. 
The  stirring  sentences  he  spake 
Compelled  the  heart  to  glow  or  quake, 
And,  rising  on  the  theme's  broad  wing. 

And  grasping  in  his  nervous  hand 

The  imaginary  battle-brand. 
In  face  of  death  he  dared  to  fling 
Defiance  to  a  tyrant  king. 

Even  as  he  spoke,  his  frame,  renewed 
In  eloquence  of  attitude, 


288  PRACTICAL    ELOCUTIOX, 

Rose,  as  it  seemed,  a  shoulder  higher; 
Then  swept  his  kindling  glance  of  fire 
From  startled  pew  to  breathless  choir ; 
When  suddenly  his  mantle  wide 
His  hands  impatient  flung  aside. 
And,  lo  I  he  met  their  wondering  eyes 
Complete  in  all  a  warrior's  guise. 

A  moment  there  was  awful  pause — 

When  Berkley  cried,  "Cease,  traitor!  cease! 

God's  temple  is  the  house  of  peace !" 

The  other  shouted,  "  Nay,  not  so, 
When  God  is  with  our  righteous  cause ; 
His  holiest  places  then  are  ours. 
His  temples  are  our  forts  and  towers 

That  frown  upon  the  tyrant  foe  ; 
In  this,  the  dawn  of  Freedom's  day, 
There  is  a  time  to  fight  and  pray  !" 

And  now^  before  the  open  door — 

The  warrior  priest  had  ordered  so— 
The  enlisting  trumpet's  sudden  roar 
Rang  through  the  chapel,  o'er  and  o'er, 
Its  long  reverberating  blow. 

So  loud  and  clear,  it  seemed  the  ear 
Of  dusty  death  must  wake  and  hear. 
And  there  the  startling  drum  and  fife 
Fired  the  living  with  fiercer  life ; 
AVhile  overhead,  with  wild  increase, 
Forgetting  its  ancient  toll  of  peace. 

The  great  bell  swung  as  ne'er  before. 
It  seemed  as  it  would  never  cease  ; 


A    LOfcT   CHORD. 


289 


And  every  word  its  order  flung 
From  oft  its  jubilant  iron  tongue 
Was,  "War!  War!  WAR!" 

"  Who  dares  ?" — this  was  the  patriot's  cry, 

As  striding  from  the  desk  he  came — 
**  Come  out  with  me,  in  Freedom's  name, 

For  her  to  live,  for  her  to  die  !" 

A  hundred  hands  flung  up  reply, 

A  hundred  voices  answered,  "  I !" 

Thomas  Buchanan  Rea». 


A  LOST  CHORD. 


SEATED  one  day  at  the  organ, 
I  was  weary  and  ill  at  ease, 
And  my  fingers  wander'd  idly 
Over  the  noisy  keys. 

I  do  not  know  what  I  was  playing. 
Or  what  I  was  dreaming  then, 

But  I  struck  one  chord  of  music, 
Like  the  sound  of  a  great  Amen. 

It  flooded  the  cHmson  twilight, 
Like  the  close  of  an  angel's  psalm, 

And  it  lay  on  my  fevered  spirit, 
With  a  touch  of  infinite  calm. 

It  quieted  pain  and  sorrow, 
Like  love  overcoming  strife  ; 

It  seem'd  the  harmonious  echo 
From  our  discordant  life. 
13 


290  PRACTICAL    ELOCUTION. 

It  link'd  all  perplex'd  meanings 

Into  one  perfect  peace, 
And  trembled  away  into  silence, 

As  if  it  were  loth  to  cease. 

I  have  sought,  but  1  seek  it  vainly. 

That  one  lost  chord  divine. 
That  came  from  the  soul  of  the  orgaa, 

And  cnter'd  into  mine. 

It  may  be  that  Death's  bright  angel 
Will  speak  in  that  chord  again ; 

It  may  be  that  only  in  Heaven 
I  shall  hear  that  grand  Amen, 

Adelaide  Anne  Proctor. 


THE  AMERICAN  WAR. 


^ir 


THEhE  abominable  principles,  and  this  more  abominabk 
avowal  of  them,  demand  the  most  decisive  indigna- 
tion !  I  call  upon  that  Right  Reverend  Bench,  those  holy 
ministers  of  the  Gospel,  and  pious  pjwtors  of  our  Church  ; 
I  conjure  them  to  join  in  the  holy  work,  and  to  vindicate 
the  religion  of  their  God  !  I  appeal  to  the  wisdom  and 
the  law  of  this  learned  Bench,  to  defend  and  support  the 
justice  of  their  country  !  I  call  upon  the  Bishops  to  inter- 
pose the  unsullied  sanctity  of  their  lawn,  upon  the  judges 
to  interpose  the  purity  of  their  ermine,  to  save  us  from 
this  pollution  ! 

I  call  upon  the  honor  of  your  Lordships,  to  reverence 
the  dignity  of  your  ancestors,  and  to  maintain  youi  own  ! 
I  call  upon  the  spirit  and  humanity  of  my  country,  to 


THE  GLASS   RAILROAD.  291 

vindicate  the  national  character  !  I  invoke  the  genius  of 
the  Constitution  !  From  the  tapestry  that  adorns  these 
walls,  the  immortal  ancestor  of  the  noble  Lord  frowns  with 
indignation  at  the  disgrace  of  his  country ! 

Turn  forth  into  our  settlements,  among  our  ancient  con- 
nections, friends,  and  relations,  the  merciless  cannibal, 
thirsting  for  the  blood  of  man,  woman,  and  child  ?  Send 
forth  the  infidel  savage  ?  Against  whom  ?  Against  your 
brethren  !  To  lay  waste  their  country,  to  desolate  their 
dwellings,  and  extirpate  their  race  and  name,  with  these 
hori'ible  hounds  of  savage  war  ! 

Spain  armed  herself  with  blood-hounds  to  extirpate  the 
wretched  natives  of  America  ;  and  we  improve  on  the  in- 
human example  of  even  Spanish  cruelty  ; — we  turn  loose 
these  savages,  these  fiendish  hounds,  against  our  brethren 
and  countrymen  in  America,  of  the  same  language,  laws, 
liberties,  and  religion — endeared  to  us  by  every  tie  that 
should  sanctify  humanity  !  Pitt. 


THE  GLASS  RAILROAD. 


IT  seemed  to  me  as  though  I  had  been  suddenly  aroused 
from  my  slumber.  I  looked  around  and  found  myself 
in  the  centre  of  a  gay  crowd.  Tlie  first  sensation  I  expe- 
rienced was  that  of  being  borne  along,  with  a  peculiar 
motion.  I  looked  around  and  found  tliut  I  was  in  a  long 
train  of  cars  which  were  gliding  over  a  railway,  and 
Bcemed  to  be  many  miles  in  length.  It  was  composed  of 
many  cars.  Every  car,  open  at  tlio  top,  was  filled  with 
men  and  women,  all  gayly  dressed,  and  happy,  and  all 
laughing,  talking,  and  singing.  The  peculiarly  gentle 
motion  of  the  cars  interested  me.     There  was  no  grating. 


292  PRACTICAL    ELOCUTION. 

such  as  we  usually  hear  on  the  railroad.  They  moved 
along  without  the  least  jar  or  sound.  This,  I  say,  inter- 
ested me.  I  looked  over  the  side,  and  to  my  astonishment 
found  the  railroad  and  cars  made  of  glass.  The  glai«s 
wheels  moved  over  the  glass  rails  without  the  least  noise 
or  oscillation.  The  soft  gliding  motion  produced  a  feeling 
of  exquisite  happiness.  I  was  haj)py !  It  seemed  as 
everything  was  at  rest  within— I  was  full  of  peace. 

AVhile  I  was  wondering  over  this  circumstance,  a  new 
sight  attracted  my  gaze.  All  along  the  road,  within  a  foot 
of  the  track,  were  laid  long  lines  of  coffins  on  either  side 
of  the  railroad,  and  every  one  contained  a  corpse  dressed 
for  burial,  with  its  cold  white  face  turned  upward  to  the 
light.  The  sight  filled  me  with  horror ;  I  yelled  in  agony, 
but  could  make  no  sound.  The  gay  throng  who  were 
around  me  only  redoubled  their  singing  and  laughter  at 
the  sight  of  my  agony,  and  we  swept  on,  gliding  on  with 
glass  wheels  over  the  railroad,  every  moment  coming 
nearer  to  the  bend  of  the  road,  which  formed  an  angle 
with  the  road  far,  far  in  the  distance. 

"  AVho  are  those  ?"  I  cried  at  last,  pointing  to  the  dead 
in  the  coffins. 

"  These  are  the  persons  who  made  the  trip  before  us," 
was  the  reply  of  one  of  the  gayest  persons  near  me. 

"What  trip?"  I  asked. 

"Why,  the  trip  you  are  now  making;  the  trip  on  this 
glass  railway,"  was  the  answer. 

"  Why  do  they  lie  along  the  road,  each  one  in  his  coffin  ?" 
I  was  answered  with  a  whisper  and  a  half  laugh  which 
froze  my  blood  : — 

"  They  were  dashed  to  death  at  the  end  of  the  railroad," 
aaid  the  person  whom  I  addressed. 

"  You  know  the  railroad  terminates  at  an  abyss  whici 


THE   GLASS   RAILROAD,  293 

is  without  bottom  or  measure.  It  is  lined  -with  pointed 
rocks.  As  each  car  ari'ives  at  the  end  it  precipitates  its 
passengers  into  the  abyss.  They  are  dashed  to  pieces 
against  the  rocks,  and  their  bodies  are  brought  here  and 
placed  in  the  cofhus  as  a  warning  to  other  passengers  ;  but 
no  one  minds  it,  we  are  so  happy  on  tlie  glass  railroad." 

I  can  never  describe  the  horror  with  which  those  words 
inspired  me. 

"  What  is  the  name  of  the  glass  railroad  ?"  I  asked. 
The  person  whom  I  asked,  replied  in  the  same  strain : — • 
"  It  is  very  easy  to  get  into  the  cars,  but  very  hard  to 
get  out.  For,  once  in  these,  everybody  is  delighted  with 
the  soft,  gliding  uKjtion.  The  cars  move  gently.  Yes,  this 
is  a  railnxid  of  habit,  and  with  glass  wheels  we  are  whirled 
over  a  glass  railroad  toward  a  fathomless  abyss.  In  a  few 
moments  we'll  be  there,  and  they'll  bring  our  bodies  and 
put  them  in  coffins  as  a  warning  to  others;  but  nobody  will 
mind  it,  will  they  ?" 

I  was  choked  with  horror.  I  struggled  to  breathe — 
made  frantic  efforts  to  leap  from  the  cars,  and  in  the 
struggle  I  awoke.  I  know  it  was  only  a  dream,  and  yet 
whenever  I  think  of  it,  I  can  see  that  long  train  of  cars 
moving  gently  over  the  glass  railroad.  I  can  see  cars  far 
ahead,  as  they  are  turning  the  bend  of  the  road.  I  can 
see  the  dead  in  their  coffins,  clear  and  distinct  on  either 
side  of  the  road ;  while  the  laughing  and  singing  of  the 
gay  and  happy  passengers  resound  in  my  ears,  I  only  see 
the  cold  faces  of  the  dead,  with  their  glassy  eyes  uplifted, 
and  their  frozen  hands  upon  thoir  shrouds. 

It  was,  indeed,  a  horrible  dream.  A  long  train  of  o-lass 
cars,  gliding  over  a  glass  railway,  freighted  with  youth, 
beauty,  and  nuisic,  while  on  either  li:in<l  are  stretched  the 


204  rRACTICAL   ELOCUTION. 

victims  of  yesterday — gliding  over  the  railway  of  habit 
toward  the  falhoinless  abyss. 

"Tliere  was  a  moral  in  that  dream." 

"  Reader,  are  you  addicted  to  any  sinful  habit  ?     Break 
it  oti'  «re  you  dash  agaiust  the  rocks." 

George  Lippard. 


GinDE  ME,  O  THOU  GREAT  JEHOVAH  1 


GUIDE  me,  O  Thou  great  Jehovah  ! 
Pilgrim  through  this  l)arren  land; 
I  am  weak,  but  Thou  art  mighty ; 
Hold  me  with  Thy  powerful  hand ; 

Bread  of  heaven, 
Feed  me  till  I  want  no  more. 

Open  Thou  the  crystal  fountain 

Whence  the  healing  streams  do  flow ; 

Let  the  fiery,  cloudy  pillar 

Lead  me  all  my  journey  through  ; 

Strong  Deliverer, 
Be  Thou  still  my  Strength  and  Shield. 

When  I  tread  the  verge  of  Jordan, 

Bid  my  anxious  fears  subside  ; 
Death  of  death  !  and  hell's  Destruction ! 

Land  me  safe  on  Canaan's  side ; 
Songs  of  praises 

I  will  ever  give  to  Thee. 

W.  Williams 


JESUS,   LOVER   OF   MY   SOUL.  295 

IN  THE  CROSS  OF  CHRIST  I  GLORY. 


IN  the  cross  of  Christ  I  glory, 
Towering  o'er  the  wrecks  of  time ; 
All  the  light  of  sacred  story 
Gathers  round  its  head  sublime. 

When  the  woes  of  life  o'ertake  me, 
Hopes  deceive,  and  fears  annoy. 

Never  shall  the  cross  forsake  me : 
Lo  !  it  glows  with  peace  and  joy. 

When  the  sun  of  bliss  is  beaming 

Light  and  love  upon  my  Avay, 
From  the  cross  the  radiance,  streaming, 

Adds  more  lustre  to  the  day. 

Bane  and  blessing,  pain  and  pleasure, 

By  the  cross  are  sanctified  ; 
Peace  is  there,  that  knows  no  measure, 

Joys  that  through  all  time  abide. 

In  the  cross  of  Christ  I  glory. 

Towering  o'er  the  ^vrecks  of  time ; 

All  the  light  of  sacred  story 
Gathers  round  its  head  sublime. 

J.    BOWRING. 


JESUS !  LOVER  OF  MY  SOUL. 


JESUS !  lover  of  my  soul. 
Let  me  to  Thy  bosom  fly, 
While  the  billows  near  me  roll, 
While  the  tempest  still  is  high ; 


296  PRACTICAL   ELOCUTION. 

Hide  me,  O  my  Saviour!  hide, 
Till  the  storm  of  lite  is  past ; 

Safe  into  the  haven  guide ; 
Oh,  recei\'e  iny  soul  at  last ! 

Other  refuge  have  I  none  ; 

Hangs  my  helpless  soul  on  Thee; 
Leave,  ah !  leave  me  not  alone, 

Still  support  and  comfort  me. 
All  my  trust  on  Thee  is  stayed ; 

All  my  help  from  Thee  I  bring ; 
Cover  my  defenseless  head 

With  the  shadow  of  Thy  wing. 

Thou,  O  Christ !  art  all  I  want ; 

Moi'e  than  all  in  Thee  I  find  ; 
Raise  the  fallen,  cheer  the  faint, 

Heal  the  sick,  and  lead  the  blind. 
Just  and  holy  is  Thy  name, 

I  am  all  unrighteousness  ; 
Vile  and  full  of  sin  I  am. 

Thou  art  full  of  truth  and  grace. 

Plenteous  grace  with  Thee  is  found, — 

Grace  to  pardon  all  my  sin  ; 
Let  the  healing  streams  abound, 

Make  and  keep  me  pure  within; 
Thou  of  life  the  fountain  art, 

Freely  let  me  take  of  Thee ; 
Spring  Thou  up  within  my  heart. 

Rise  to  all  eternity.  C.  Wesley. 


MY  country!  'tis  of  thee.  297 

MY  COUNTRY!  'TIS  OF  THEK 


MY  country !  'tis  of  thee, 
Sweet  laud  of  liberty, 
Of  thee  I  sing ; 
Laud  where  my  fathers  died  ! 
Land  of  the  Pilgrims'  pride  ^ 
From  every  mountain  side 
Let  freedom  ring  1 

My  native  country,  thee — 
Land  of  the  noble,  free — 

Thy  name  I  love ; 
I  love  thy  rocks  and  rills, 
Thy  woods  and  templed  hills; 
My  heart  with  rapture  thrilla 

Like  that  above. 

Let  music  swell  the  breeze. 
And  ring  from  all  the  trees 

Sweet  freedom's  song ; 
Let  mortal  tongues  awake ; 
Let  all  that  breathe  partake  ; 
Let  rocks  their  silence  break,— 

The  sound  prolong. 

Our  fathers'  God !  to  Thee, 
Author  of  liberty, 

To  Thee  we  sing : 
Long  may  our  land  be  bright 
With  freedom's  holy  light ; 
Protect  us  by  Thy  inight. 

Great  God,  our  King !        S.  F.  Smith. 


2&8  PRACTICAL   ELOCUTION. 


MATTHP]W  XXV. 


rjlHEN  t<lmll  the  kiiiy;doin  of  heaven  be  likened  unto 
A  ten  virgins,  which  touk  their  lanipri,  and  went  forth 
to  meet  the  bridegroom. 

And  five  of  them  were  wise,  and  five  were  foolish. 

They  that  were  foolish  took  their  lanqis,  and  took  no 
oil  with  them. 

But  the  wise  took  oil  in  tlu-ir  vessels  with  their  lainj)s. 

While  the  bridegroom  tarried,  they  all  slumbered  and 
slept. 

And  at  midnight  there  was  a  cry  made.  Behold,  the 
bridegroom  cometh  ;  go  ye  out  to  meet  him. 

Then  all  those  virgins  arose,  and  trimmed  their  lamps. 

And  the  foolish  said  unto  the  wise,  Give  us  of  your  oil ; 
for  our  lamps  are  gone  out. 

But  the  wise  answered,  saying,  Not  so  ;  lest  there  be  not 
enough  for  us  and  you  ;  but  go  ye  rather  to  them  that  sell, 
and  buy  for  yourselves. 

And  while  they  went  to  buy,  the  bridegroom  came  ;  and 
they  that  were  ready  went  in  with  him  to  tlie  marriage  : 
and  the  door  was  shut. 

Afterward  came  also  the  other  virgins,  saying,  Lord, 
Lord,  open  to  us. 

But  he  answered  and  said.  Verily  I  say  unto  you,  7 
know  you  not. 

Watch  therefore,  for  ye  know  neither  the  day  nor  the 
hour  wherein  the  Son  of  man  cometh. 

For  the  kingdom  of  heaven  is  as  a  man  traveling  inte 
a  fa.r  country,  who  called  his  own  servants,  and  delivered 
Uuto  them  his  goods. 


MATTSKW    XXV.  299 

And  unto  one  he  gave  five  talents,  to  another  two,  and 
to  another  one ;  to  every  man  according  to  his  several 
ability  ;  and  straightway  took  his  journey. 

Then  he  that  had  received  the  five  talents  went  and 
traded  with  the  same,  and  made  them  other  five  talents. 

And  likewise  he  that  had  received  two,  he  also  gained 
other  two. 

But  he  that  had  received  one  went  and  digged  in  the 
earth,  and  hid  his  lord's  money. 

After  a  long  time  the  lord  of  those  servants  cometh,  and 
reckoneth  with  them. 

And  so  he  that  had  received  five  talents  came  and 
brought  other  five  talents,  saying.  Lord,  thou  deliveredst 
unto  me  five  talents :  behold,  I  have  gained  beside  them 
five  talents  more. 

His  lord  said  unto  him,  Well  done,  thou  good  and 
faithful  servant :  thou  hast  been  faithful  over  a  few  things, 
I  will  make  thee  ruler  over  many  things  :  enter  thou  into 
the  joy  of  thy  lord. 

He  also  that  had  received  two  talents  came  and  said, 
Lord,  thou  deliveredst  unto  me  two  talents :  behold,  I 
have  gained,  two  other  talents  beside  them. 

His  lord  said  unto  him,  Well  done,  good  and  faithful 
servant ;  thou  hast  been  faithful  over  a  few  things,  I  will 
make  thee  ruler  over  many  things:  enter  thou  into  the  joy 
of  thy  lord. 

Then  he  which  had  received  the  one  talent  came  and 
said,  Lord,  I  knew  thee  that  thou  art  an  hard  man,  reap- 
ing where  thou  hast  not  sown,  and  gathering  where  thou 
hast  not  strewed  : 

And  I  was  afraid,  and  went  and  hid  thy  talent  in  the 
aarth  :  lo,  there  thou  hast  that  is  thine. 

His  lord  answered  and  said  unto  him,  Thou  wicked  and 


300  PRACTICAL   ELOCUTION. 

slothful  servant,  tli(»u  kiiewcst  that  I  reap  where  I  sowed 
nut,  and  gather  whore  1  have  not  strewed  : 

Tliou  oughtest  therefore  to  have  put  my  money  to  the 
exchangers,  and  then  at  my  conung  I  slioukl  have  received 
mine  own  with  uj^ury. 

Take  tlierefore  the  talent  from  him,  and  give  it  unto 
him  which  hath  ten  talents. 

For  unto  every  (jne  that  hath  shall  be  given,  and  he  shall 
have  abundance  :  but  from  him  that  halh  not  shall  be 
taken  away  even  that  which  he  hath. 

And  cast  ye  the  unprofitable  servant  into  outer  dark- 
ness :  there  shall  be  weeping  and  gnashing  of  teeth. 

When  the  Son  of  man  shall  come  in  His  glory,  and  all 
the  holy  angels  with  Him,  then  shall  He  sit  upon  the 
throne  of  His  glory  : 

And  before  Him  shall  be  gathered  all  nations :  and  He 
shall  separate  them  one  from  another,  as  a  shepherd  divid- 
eth  his  sheep  from  the  goats : 

And  He  shall  set  the  sheep  on  His  right  hand,  but  the 
goats  on  the  left. 

Then  shall  the  King  say  unto  them  on  His  right  hand, 
Come,  ye  blessed  of  my  Father,  inherit  the  kingdom  pre- 
pared for  you  from  the  foundation  of  the  w(ji'ld  : 

For  I  was  an  hungered,  and  ye  gave  me  meat :  I  was 
thirsty,  and  ye  gave  me  drink :  I  was  a  stranger,  and  ye 
took  me  in  : 

Naked,  and  ye  clothed  me  :  I  was  sick,  and  ye  visited 
me :  I  was  in  prison,  and  ye  came  unto  me. 

Then  shall  the  righteous  answer  Him,  saying,  Lord, 
when  saw  we  Thee  an  hungered,  and  fed  Thee  ?  or  thirsty, 
and  gave  Thee  drink  ? 

When  saw  we  Thee  a  stranger,  and  took  Thee  in  ?  or 
oaked,  and  clothed  Thee? 


PSALM    XCI.  301 

Or  when  saw  we  Thee  sick,  or  in  prison,  and  came 
unto  Thee  ? 

And  the  King  shall  answer  and  say  unto  them,  Verily 
I  say  unto  you,  Inasmuch  as  ye  have  done  it  unto  one  of 
the  least  of  these  my  brethren,  ye  have  done  it  unto  me. 

Then  shall  He  say  also  unto  them  on  the  left  hand,  De- 
part from  me,  ye  cursed,  into  everlasting  fire,  prepared  for 
the  devil  and  his  angels : 

For  I  was  an  hungered,  and  ye  gave  me  no  meat :  I  was 
thirsty,  and  ye  gave  me  no  drink  : 

I  was  a  stranger,  and  ye  took  me  not  in :  naked,  and 
ye  clothed  me  not :  sick,  and  in  prison,  and  ye  visited  me 
not. 

Then  shall  they  also  answer  Him,  saying.  Lord,  when 
saw  we  Thee  an  hungered,  or  athirst,  or  a  stranger,  or 
naked,  or  sick,  or  in  prison,  and  did  not  minister  unto 
Thee  ? 

Then  shall  He  answer  them,  saying.  Verily  I  say  unto 
you.  Inasmuch  as  ye  did  it  not  to  one  of  the  least  of  these, 
ye  did  it  not  to  me. 

And  these  shall  go  away  into  everlasting  punishment : 
but  the  righteous  into  life  eternal. 


PSALIM  XCI. 


HE  that  dwelleth  in  the  secret  place  of  the  most  High 
shall  abide  under  the  shadow  of  the  Almighty. 
I  will  say  of  the  Lord,  He  is  my  refuge  and  my  fortress: 
my  God ;  in  Him  will  I  trust. 

Surely  He  shall  deliver  thee  from  t'lc  snare  of  the  fowler, 
and  from  the  noisome  pestilence. 

He  shall  cover  thee  with  His  featiiers,  and  under  His 


302  PRACTICAL   ELOCUTION. 

wings  shall  tliou  trust:  His  truth  shall  be  thy  shield  and 
buckler. 

Thou  shah  not  be  afraid  for  the  terrijr  by  night ;  n(jr  for 
the  arrow  that  tlieth  by  day  ; 

Nor  for  the  pestilence  that  walketh  ■  i  darkness ;  nor  for 
the  destruction  that  wasteth  at  noonday. 

A  thousand  shall  fall  at  thy  side,  and  ten  thousand  at 
thy  right  hand  ;  but  it  shall  not  come  nigh  thee. 

Only  with  thine  eyes  shalt  thou  behold  and  see  the 
reward  of  the  kicked. 

Because  thou  hast  made  the  Lord,  which  is  my  refuge, 
even  the  most  High,  thy  habitation  ; 

There  shall  no  evil  befall  thee,  neither  shall  any  plague 
come  nigh  thy  dwelling. 

For  He  shall  give  His  angels  charge  over  thee,  to  keep 
thee  in  all  thy  ways. 

They  shall  bear  thee  up  in  their  hands,  lest  thou  dash 
thy  foot  against  a  stone. 

Thou  shalt  tread  upon  the  lion  and  adder:  the  young 
lion  and  the  dragon  shalt  thou  trample  under  feet. 

Because  he  hath  set  his  love  u])on  me,  therefore  will  I 
deliver  him  :  I  will  set  him  on  high,  because  he  hath  known 
my  name. 

He  shall  call  upon  me,  and  I  will  answer  him  :  I  will  be 
with  him  in  troul)]e ;  T  will  deliver  him,  and  honor  him. 

With  long  life  will  I  satisfy  him,  and  show  him  my  sal- 
vation. 


INDEX. 


Abdominal  Muscles,  37. 

Accent,  seat  of,  89-91. 

Active  osition,  143;  advanced  and  tp- 
tired  posturps,  14^;  examples  for 
practice  in  the  active  position,  ad- 
vanced, 144  ;  retired,  145. 

Adam's  Apple,  37 

Adaptation,  essential  to  correct  ex- 
pression, 113 

Adaptation  of  Gesture  to  Speech, 
169. 

AdoratioK  (gesture >,  1.57. 

Advanced  Instruction,  1S3,  184. 

Affectation  (facial  expression),  162. 

Affliction  (^'osturo),  157. 

Alphabetic  Ei^uivalents,  85. 

"Amidst  the  Mists,"  &c,  78. 

Analysis  of  Language,  essem  .alto  cor- 
rect exiiressioL,  112. 

Analysis  of  Principles  of  Elocution, 

l.S  ;  explanation,  19, 

Analyslsof  the  Thought,  192. 

And,  how  pronounced,  102. 

Anger  (facial  expression),  161, 

Anger  (gesture),  157. 

Appeal  to  Conscience  (gesture),  156. 

Appendix,  miscellaneous  suggestions, 
185;  Ki'.iphasis,  IHG  ;  miscellaneous 
vocal  exercises,  187;  laughter,  189  ; 
Bible  reading,  189  ;  relations  of 
sound  tosense,191  ;  transition,  191  ; 
analj-'is,  192  ;  repose,  193. 

Apprvpriate  changes  of  Time  reflect 
■eU'Control,  123. 


Appropriate  Quantity,  essential  to  ••^ 
rect  expression,  127. 

Arm  Movements,  146;  their  purpose^ 
146 ;  exami.los  lor  practice,  147,  148. 

Art,  defined,  193,  194. 

Articles,  a  and  the,  102. 

Articulation,  69  ;  definition,  69;  impor- 
tance, 61' ;  its  scope,  70;  standard  of 
pronunciation,  70;  VVehster  or  Wor- 
cester, 71;  exercises  in  articuhition, 
74;  how  to  learn  to  speil  plioneti- 
callv,  75,76;  words  for  spelling,74,84, 
87,99,1011,101  ;  longandshort  vowels, 
78,  79  ,  subtonic  combinations,  80,S4, 
87,  88;  classifications  of  elementary- 
sounds,  80,  81 ;  diacritical  points, 81 ; 
practical  hints  upon  a  few  voice 
sounds,  82,  8.3;  equivalents,  85,  cog- 
nates, 86  ;  contrasts,  86;  se:it  of  the 
accent,  94  96 ;  prefixe.s,  91  94 ;  termi- 
nations, 89  91;  unaccented  vowels, 
97-99  :  words  often  mispronounced, 
99-101;  recreations  in  articulation, 
103-111. 

Ascending  Line  of  Direction  (arm 
movements),  146;  examples  for  prac- 
tice,one  handsiipini',150  ;  l)oth  hands 
supine,  1.53;  one  hand  prone,  153; 
both  hands  prone  ;  one  hand  vertical, 
154  ;  botli  hauils  vertical,  155. 

Aspirated,  64;  examples,  67. 

Aspirate  combinations,  84. 

Attention  (gesture),  156. 

Author's  Opportunities  for  knowing 
the  wants  of  teachers,  170. 

B  following  m,  101. 

"  Ba-pa,"  &o.,  79,  84,  86,  87,  88. 

308 


304 


IKDEX. 


Bible  Reading,  1S9. 

B  ■dy,  movements  of,  145. 

BreatUing,  38;  what  we  breathe  38 
«iiy  «e br.  athc, :«l ;  how  we hreathe 
M  ;  breaihing  exercises,  69,  40. 

Breath  Sounds, 81. 

Business  Life, as  related  to  Elocution 


Cautions  (gesture),  169. 

"  Ceaseth  Approacheth,"  Ac,  73. 

Charge  of  the  Light  Brigade  (gesture y 

10') 

Chart,  Outline  of   Elocution,  18  •    ex- 

\  lunation,  19. 
Chart  of  Vocal  Exercises,  41. 
Chart,  (j»sturc),  HI. 
Circumfiex,  1^2;  examples  for  practice, 

Clasped  Hands  (gestured,  156. 
Classification  of   Elementary  Sounds, 

Climax,  163. 

Cinched  Hands(gesture),  157. 

Coalescenls,  SI  ;  ar,  er,  or  and  ur,  in- 

lorrecily sounded,  83. 
Cognates,  86. 

Combination  Exercise  In  pitch,  force 
and  Kate,  126. 

Comprehension  of  the  sentiment  es- 
s  iitial  to  the  expression,  112. 

Conscience  (gesture),  156. 

Contents,  15. 

Contrasts,  86. 

Conversation,  23;  for  its  own  sake  23- 
S.imtnary-,  24;  suggestions  to 'stu- 
dents, 24;  conversational  exercises 
ij-29;  conversation  in  its  relation  to 
reading,  30,  :n  ,  analogy  between  it 
and  reading,  30 ;  distinction  between 
It  and  reading,  30;  models  for  read- 
In;?  found  in  conversation,  31  ;  im- 
personation, .^1 ;  conversation  in  its 
relation  to  public  address,  32  •  anal- 
ogy betw.  en  it  and  public  address 
32;  dislin<tion  between  it  and  pub- 
lic address,  32;  illustration,  32,  33  ■ 
guide  to  public  address,  33  ;  remarks 
upon  the  distinction  between  con- 
Vi-rsation  and  public  address  34- 
models  for  public  speech  found  in 
pure  conversation,  .34  ;  general  sum- 
mary, .34  ;  the  perms  of  elonution 
Jound  in  pure  conversation,  3o. 

Conversational  Gestures,  1(2. 
Conversational   Slide,  131  •    examples 
tor  practice,  135, 137. 


Crowning  Power  of  Expression,  13t 

Crude  Gestures,  l^a. 

Curved  and  Straight  Lines,  (arm 
uioveiaeutsi,  117;  giii.ling  princi- 
ples, 146  ;  e.\aiiiple3  lor  praclice,  Ui. 

Definition  of  Articulation,  69. 

Definition  of  Elocution,  20. 

Defiance  (facial  exprossiouj,  161. 
I  Defiance  Cgesture),  157 

Descending  Line  of  Direction,  (amj 
movements),  hr^;  exampb  s  lorprac- 
tiee,  lo2;  one  hand  sLipiuct,  l.Vj;  both 
hands  siij.ine,  152;  one  hand  prone, 
1.^3:  both  hands  prone,  153. 
Development  of  Voice,  38  ;  its  distinc- 
live  aim,  38;  l.reai  liiiig,  .3S  ;  breath- 
ing exercises,  39,  40 ;  vocal  exercises. 
40, 41.  ^ 

Diacritical  Points,  81. 
Diaphragm,  BG,  37. 
Dictionaries,  71,  72. 
(  Direction  of  Lines,  whether  middle 

ascending,  or  descending,  I  IS. 
Double  Gestures,  150. 
Dramatic  Gestures,  142. 
Drawing  Sword  (gesture),  157. 
Dropping  Hands  (gesture),  157. 
Ear  Training,  69. 
Effusive,  exarajjles,  47,  48. 

Elementary    Sounds,    classificatioo 

80;  table  of,  81. 
Elocution,  outline  of,  18;  cxplanatiou. 

I  Emotion  and   Fervor   often    mistaken 

for  correct  expression,  113. 
Emphasis,  186  :  capital  idea,  186-  subor- 
dinate idea,  186.    Connections,  groiin. 
ing,  186.  ^       ' 

Emphasis,  Gestures  of,  146;    exampl-t 
lor  (.ractice,  147. 

Emphatic    Slide,    131;    examples    foi 
practice,  137,  1.38. 

Enunciation,  1S5. 

Equivalents,  85. 

Essentials  of  Expression,  112. 

Excess  in  Gesture,  1C9, 

Exercises  in  Articulation,  73—88. 

Exercises  in  Breathing,  39;  chest  ."^D- 
costal,  y.ii;  waist,  ::;;i;  dorsal,  39-' ab 
dominal,39;  full,  40;  prolonged  4" 
elfusive,  40;  expulsive.  40;  explo' 
sive,  40.  «       .        r " 

Exeixises  in  Conversational  Styloe 


DTDEX. 


305 


•xercise  in  pitch,  force,  and  rate  com- 

biued,  126. 

Explanation  of  Outline  of  Elocution, 
19. 

Explosive,  examples  in,  49, 50. 

Expression,  112;  modulation,  113; 
qualitv,  113;  pitch,  113;  examples 
of  medium  pitch,  114,  115;  of  high 
pitch,  115,  116;  of  low  pitch,  117; 
force,  118;  examples  in  medium 
force,  119  ;  in  full  force,  120 ;  in  sub 
dued  force,  121 ;  time,  122;  rate,  123; 
examples  in  medium  rate,  123;  in 
rapid  rate,  124;  in  slow  rate,  125  •, 
combination  exercise,  12R;  quantity, 
127;  exauiples  in  medium  quantity, 
127  ;  in  long  quantity,  128;  in  short 
quantity,  128,  129;  pause,  129,  130: 
rhetorical  combined  with  gram- 
matical pause,  130;  slides,  131;  ex- 
ercises in  slides,  132—135;  in  conver- 
sational slides,  13'— 137;  in  emphatic 
slides,  137, 138  ;  wave  or  circumflex, 
139,  140. 

Expulsive,  examples  in,  49. 

Extreme  Fear  (facial  expression),  162. 

Extreme   Surprise  (facial  expression), 

ii;3. 

Exultation  (facial  expression),  163. 

Exultation  (gesture),  156. 

Facial  Expression,  unimpassionedand 
impassioned,  158,  159  ;  guiding  prin- 
ciples, 159;  examples  for  practice, 
159,  1133. 

FalKng  Circumflex,  132. 

False  Gestures,  159. 

Falsetto,  67  68;  examples  for  practice, 
68. 

Faults  of  Articulation,  176 

Faults  in  Bible  Reading,  189,  191. 

Faults  of  Expression,  176,  177. 

Faults  of  Gesture,  177. 

Faults  of  Voice  in  the  schoolroonJt 
175. 

Faulty  Pronunciation,  how  corrected, 
73. 

Feet,  position,  143. 

Finger  Index,  1-58. 

Flourish  of  the  Hand  (gesture),  156.; 

Force,  118;  not  arbitrary,  118  ;  how  pro- 
duced, 118;  distinguished  from  noise, 
IIS;  examples  of  medium,  s\ibdued, 
and  full.  119—122. 

Free  Gymnastics,  54. 

Fulcrum  Power  of  the  Voice,  176. 

Full  Breathing,  examples  in,  68. 


Full  Force,  119;  examples  for  practice, 

120,121. 
Fundamental    Principles     of    Public 

Address,  185. 
General  Suggestions,  (gesture,)  168. 
General  View  of  Elocution,  18;  expla- 
nation, 19. 
Gesture,  141;  outlinp,  141;  conversa- 
tional gestures  14i;  oratorical  ges- 
tures, 142  ;  dramatic  gestures,  142; 
position,  143 ;  examples  for  practice 
in  the  various  p  isitious,  144  ;  move- 
ments of  the  body,  145;  head,  J45; 
arm,  146;  examples  for  i^rsctice,  '.47; 
lines,  147;  guiding  principles,  147; 
position  of  hand,  149;  examples  for 
practice,  150;  lower  limbs,  157;  in- 
dex finger,  158;  facial  expression, 
158;  guiding  j)rincip!es,  r'9;  unim- 
passioued  facial  expression,  159,  160; 
impassi  med,  160:  reverence,  pathox, 
joyousness,  160;  seerery,  indignant 
command,  auger,  defiance,  resigna- 
tion, sadness,  grief,  extreme  surprise, 
161 ;  hatred,  extreme  fear,  jealousy, 
triumph,  alfection,  hunger,  and  sad- 
ness, scorn,  162;  terror,  revenge,  ex- 
ultation, 163;  miscellaneous  exer 
cises,  16:5 — 168;  general  suggestions, 
168  ;  cautious  to  be  observed,  169. 

Gesture  a  Supplemert  to  Speech, 
141. 

Gestures, conversational,  142;  dramatic, 
142. 

Gesture,  General  Suggestions,  168  ;  not 
arbitrary,  but  suhji  ct  to  certain  nat- 
ural laws,  ;  special  exercises,  156 
—158. 

Gestures— of  emphasis,  146;  examples 
for  practice,  147;  of  illustration,  116; 
examples  for  practice,  147;  of  loca- 
tion, 146;  examples  for  practice,  147; 
oratorical,  142. 

Graceful  Carriage, 

Grammatical  Pause,  129. 

Grief,  (facial  expression,)  161. 

Grouping,  1^6. 

Guide  to  Public  Address,  33. 

Guiding  Principles  in  facial  expres- 
sion, 159;  in  the  use  of  the  lowet 
limbs,  157,  1"8. 

Guttural,  64  ;  examples  in,  6.5,  66. 

Gymnastics,  54  :  Free  Gymnastics— 
I'irst  series,  51;  second  series,  55 ; 
explanation  of  first  series,  55,  57  ,  ex« 
plauation  of  second  series,  57,  58. 

Hand,  Position  of, 
I  Hatred  (fa«ial  cxpretisioa),  192. 


806 


IXDKX. 


"  He  add3  fourths,  fifths,"  Ac,  86. 
Head  movements,  145. 
Heart  (gesturo.)  156. 

High  Pitch,  114;  examples  for  practice, 
115,  110. 

How  to   Correct  faulty  prouunciation, 

How  to  learn  to  Spell  phonetically,  75, 
76. 

How   to  master   the   long    and    short 

vowels,  TS. 

Hunger  and  Sadness  (facial  expres- 
sion), 1G2. 

Illustration,  gestures  of,  146;  examples 
for  practice,  147.  • 

Impassioned  Facial  Expression,  159; 
exainple.s  for  practice,  160 — 163. 

Impersonation,  Note  1,  .''.1. 

Importance  of  Articulation,  69. 

Importance  of  Elocution,  in  physical 
developm"ijt,  I'l  ;  in  social  life,  21  ; 
in  busiueos  lile,  22;  in  public  life, 
22. 

Importance  of  Vocal  Culture,  172. 

Impure  Qualities  of  Voice,  63,  64,  ex- 
amples, 04,  6.S. 

Index  Finger  (gesture),  158. 

Indignant  Commana  (facial  expres- 
.sioD),  161. 

Influence  of  thohiiman  voice,  172. 

Instruction,  methods  of,  170. 

Instruction  (primary  and  advanced), 
180,  184. 

Intense  Thought  (gesture).  156. 

intermediate  or  Fifth  a  incorrectly 
souuded,  82. 

Italian  a  incorrectly  sounded,  82. 
Jealousy  [facial  expression],  162. 
Joy  [gesture],  1,5G. 

Joyousness  [facial  expression],  160. 
Language   of  the   Bible,   [fruitful  in 

imauiog,    hence  difficult  to   read], 

189. 
Laryn.x,  37. 
Laughter,  1S9. 
Lines    straight    and    curved,    in     arm 

niovemuuts,  147;  guiding  principles, 

147;  examples  lor  practice,  148. 

Location,  gesture  of,  14C  ;  Examples  for 
practice,  147. 

Long  and  short  vowels,  (how  to  mas- 
ter tliein  )  78. 

Long  Quantity,  127;  examples  for  prac- 
tice, i:,^. 


Long  u,  incorrectly  sounded,  83. 

Lower     Limbs    (guiding    principles) 

157,  158. 
Low  Pitch,  114  ;  examples  for  practice 

117. 
Lungs,  36,  37. 

Magnetic  Connection  of  words,  185.    , 
Meaningless  Gestures,  1(')9. 

Medium  Force,  118;  examples  for  prao- 
lice,  119. 

Medium  Pitch,  114. 

Medium  Quantity,  127;  examples  foi 
practice,  127. 

Medium  Rate,  123;  examt)les  lorprac 
tice,  123,  124 

Mental  Suffering  [gesture],  156. 

Methods  of  Instruction,  170;  theory 
of  teaching,  170;  importance,  172; 
faults,  175  ;  outline  of  methods,  ISO; 
primary  instruction,  180,  183;  ad- 
vanced instruction,  IS:!,  1S4. 

Middle  Line  of  Direction,  (arm  move- 
ment) 14S;  examples  for  practice, l.")0; 
one  hand  supine,  150;  bolli  hands 
supine,  150  ;  one  hand  prone,  1-53; 
both  hands  prone,  153  ;  one  hand 
vertical,  154;  both  bauds  vertical, 
1.55. 

Miscellaneous  Exercises  in  gesture 
If,:.;— 108. 

Miscellaneous  Suggestions  for  read- 
ing  and  speaking,  185,  186. 

Miscellaneous  Vocal  Exercises,  187. 
18G. 

Modulation,  113. 

Monotony,  how  avoided,  122,  123. 

Movements  of  the  Body,  (head,  arm. 
lower  limbs,)  14.'!,  146. 

My,  [how  pronounced],  102. 

Nature,  a  proper  study  for  attitude  and 
action,  108. 

Negative  Language  reqtiiressu.staine, 
voice  or  rising  slide,  132. 

Noise  and  physical  violence  distir-- 
guished  from  force,  119. 

Objects  to  be  attained  in  gesture,  169, 

Observation  of  Characters  iri  p.iinlinf 
and  sculpture  recommended  for  at 
titude  and  actiou,  1G8. 

Oratorical  Gestures,  142. 

Orotund  Voice,  CO;  examples,  61 — C3 

Outline  of  Elocution  and  analysis  o. 
principles,  18  ;  explanation,  13 

Outline  of  Gesture,  141. 

Outline  of  methods  of  jnstructioii,  18a 


IKSEX. 


307 


Passive  Position,  143  ;   examples  for 

practice,  144. 
Pause,  129. 

Pectoral,  64;  examples  iu,  64, 65. 
Position  [gesture],  156. 
Philosophy  of  Voice,  36. 
Phonetic  Spelling,    how   to  begin,  75, 

76. 
Physical  Development  as  related  to 

elocution,  21. 
Physical   Exercise   essential    to  vocal 

development,  38. 
Pitch,  113  ;  not  a  volition  of  the  reader 
or  speaker,  but  a  demand  of  the  sen- 
timent, 113;  how  produced,  114  ; 
examples  of  medium,  high  and  low, 
46. 
Pope's  Rule  applied  to  pronunciationi 

71. 
Position  of  Feet,  143. 
Position  of  Hand,  supine,  prone,  ver- 
tical,   140;    examples    for  practice, 
150,  156. 
Position,  passive  and  active,  143. 
Positive  Language  requires  downward 

slide,  131. 
Posture  or  Position,  143. 
Practical    Hints    upon    a    few    voice 

sounds,  82,  83. 
Practice  against  inclination   and  nat- 
ural taste,  181). 
Practice    frequently,    but    not    when 

weary,  185. 
Prayer  (gesture),  156. 
Preface,  9. 

Prefixes,  hi,  94  ;  prefix  a,  91 ;  bi,  tri, 
chi,  cli,  cri,  pri,  92;  i  and  y  iu 
first  syllables,  iri  ;  n  in  prefix  con, 
92,  93  ;  o  eijuivalent  to  short  u,  93  ; 
prefix  ex,  93;  prefix  dis,  93;  s  in- 
correctly sounded,  93;  prefix  with, 
94, 
Pnmarv  Instruction,  180,  183. 
Principles,  35. 

Prone  Hand,  149;    examples  for  prac- 
tice, 154. 
Pronunciation,  the  standard  of,  70. 
Public  Address,  as  relatid   to  conver- 
sation, .32  ;  guide  to  public  address, 
83 ;    models   found  in     pure    con- 
versation, 34. 
Public  Life  as  related  to  Elocution ,  22. 
Pure  Qualities  of  Voice,  59,  60;  exam- 
ples, 60,  62. 
Quality,  .^.9;  piiie  quality,  .W,   60;  ex- 
amples iu    simple  jiuii^  quality,  60, 
61;  in  orotund,  61,  63,  impure  qual- 


ity, 63  ;  pectoral,  64;  guttural,  A; 
aspirated,  64;  falsetto,  67,  (l-* ;  ej  .ni- 
ples  in  pectoral,  64  65,  in  gu/t  ral, 
65,  66;  in  aspirated,  67;  in  falsetto, 
68. 

Quality  of  Voice,  as  an  element  of  ex- 
pression, 113. 
Quantity,  127. 
Quick  Preception    and    prompt    and 

graceful  changes  of  voice  essential 

to  correct  expression,  113. 
Quintillian's  estimate  of  the  face  as  an 

el'  inentof  expression,  159 
R,  sh  and  w,  before  long  u,  83. 
Rapid  Rate,  123  ;  examples,  124. 
Rate,  123;  examples  of  medium,  fast 

and  slow,  123-126. 
Reading  as  related  to  conversation,  30. 
Recreations  in   Articulation,  103,  111, 
Relative  Emphasis  of  the  leading  and 

subordinate  ideas  in  a  sentence,  186. 
Remedy  for  faults  of  voice,  Ac,  in  the 

schoolroom,  177,  179. 
Repose,  109, 19:'.,  194. 
Resignation  (facial  expression),  161. 
Respiration,   39 ;     nostrils    should    b« 

used,  39. 
Revenge  (facial  expression),  163. 
Reverence  (facial  expression),  i60. 
Rhetorical  Pause,  129  ;  examples,  1» 

130, 
Rising  Circumflex,  132. 
S  and  sh  followed  by  long  u,  102. 
Sadness  (facial  expression),  161. 
Scorn  (facial  expression),  102. 

Sculpture  and  Painting  as  a  study  fo» 
altitude,  lOS. 

Seat  of  the  Accent,  89  92  ;  a  syllable, 
89;  monosyllable,  dissyllable,  trisyl. 
lable,  polysyllable,  89;  ultimate,  pe- 
nult, antepenult,  preautepeuult,  89; 
words  of  two  syllables,  89;  of 
more  than  two  syllables,  90  ;  Eng- 
lish derivatives,  90;  words  from 
the  Latin  and  (iree':.90;  from  th« 
French,  91 ;  words  used  antitheti- 
cally ,91. 

Secrecy  (facial  expression  ,161. 
Sentirointand  characterization,  18''-. 
Sh  iiioirrectly  sounded,  101. 
Shorf  o  incorrectly  sounded,  82. 
Shor     Quantity,   127 ;    examples,    128, 

/  ;9. 
Simple  Pure    'oice,  59  ,  example.s,  W>, 

01. 


SOS 


IKDEJC 


Slides,    131 ;  upward,  131 ;   downward. 

131 ;  wave  or  circuiuflex,  132. 
Slow  Rate,  l-'3  ;  examples,  125,  126. 
Social  Life,  as  related  to  elocution,  21. 
Soul  Power,  of  spoken  language,  112. 
Sound  to  Sense,  IDl. 
Special  Exercises  in  Gesture,   156-158. 
Speech,  .35;  sptccli  and  (jesturethe  two 

great  mediums  of  thought,  35;   its 

subdivisions,  35. 
Standard  of  Pronunciation,  70.. 
Straight  and  Curved  Lines,  arm  move- 
ments, 117  :  guiding  principles,  1-47  ; 

examples,  1  l<s 
Subdued  Force,   119;    examples,  121, 

122. 
Subtonic  and  Aspirate  Combinations, 

87,  88. 
Subtonic  Combinations,  80-84. 
Supine  Hand,  1  ll»;  examples,  150. 
Sustained  Force,  examples,  51,  52. 
Swell,  exami)les,  50,51. 
Sympathy  with  the  sentiment  neces- 

saiy  to  correct  e.xpre.ssion,  112. 
T  in  tie  suppressed,  101. 
Table  of  Contents,  15. 
Table  of  Elementary  Sounds,  81. 
Table  of  Vocal   Exercises,  11 ;  expl»- 

natiun  ol  l.ble,  4_',  •13. 

Terminations,  94,  91);   en,  94  ;    el,94; 

ed,!n;  ine,  95  ;  on,  90  ;   il,  96;    in, 

96 ;  ain,  96. 
Terror  [facial  expression],  163. 
Th,  Vocal  and  Aspirate,  101. 
The  Face  a  mirror  of  the  emotions,  158. 
Theory  of  Teaching,  170-180. 
rime,  l'-:2;  a  demand  of  the  sentiment, 

and    not  a  caprice  of  the  reader  or 

8i)eaker,  114. 

rime  and  Toil,  169. 
TraciiM^  37. 


TranBition,  168. 192. 

Tremor,  examples,  52,  5S. 

Triumph  (facial  exji't'ssion),  162. 

Triumph  (gesture/,  156. 

Unaccented  Vowels.  97-98  ;  tendenclet 
of  long  a,  long  e,  short  e,  short  a.  Ital- 
ian a,  interiiK  iliate  a,  long  o,  short 
e,  coalescent  ar,  er,  or,  98  ;  Italian 
a  followed  by  r,  long  oo,  99  ;  caution 
in  reference  to  Worcester's  nuirk, 
99. 

Unimpassioned    Facial     Expression, 

1.59;  examples,  109,  160. 

Union  Sounds,  81 

Utterance,  37,  .38. 

Vertical    Hand,   149;    examples,  155. 

Vocal  Cords,  .36,  37. 

Vocal  Culture,  its  importance,  172. 

Vocal  Exercises,  4(1 ;  table  of,  41  ;  ex- 
amples in  Natural,  44  ;  in  full  force, 
45  ;  in  high  and  low,  46,  47  ;  in  etl'u- 
sive,  47,  48  ;  in  expulsive,  49  ;  in  ex- 
plosive, 49,  50;  iu  swell,  50,  51;  in 
sustained  force,  51,  52;  in  tremor, 
.52,53  ;  iu  full  breathing, 53. 

Voice,  35  ;  philosophy  of,  36  ;  utterance  . 
37;    devi  lopmeut,  38;    vocal   exer- 
cises, with  table  and  explanation, 
40—13. 

Voice  Sounds,  81. 

Vowels,  when  not  under  the  accent, 
97— :i9. 

■Wave,  131. 

Wave  of  the  Hand  (gesture),  1.56. 

Webster  or  Worcester,  71. 

"  What  whim,"  tic.,  77. 

Wonder  (gesture),  158. 

Words  for  Spelling,  77,  84,  87,  99,  101. 

Words  often  mispronounced,  99-101. 

Wrapping  Drapery  (gesture),  157. 

Wringing  Hands  (gesture),  157. 


Shoemaker^s  Best  Selections 


For  Readings  and  Recitations.     Num- 
bers I  to  25  now  issued. 

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For  brief  descriptions  of  a  few  of  the  most  popular  pieces 
in  each  number  of  tliis  series,  see  pages  immediately  follow- 
ing. It  is  not  to  be  understood  that  the  pieces  described  are 
the  only  ones  in  the  book.  Each  number  contains  from 
»eventy-five  to  one  hundred  pieces. 


NUMBER    ON^E 


Abraham  Lincoln,  liv  llcmv  W.ud 
Beeclior.  A  euU)j;y  on  llic  iiiail\K>l 
presitlcnt, 

Annie  and  Willie's  Prayer,  an  excellent 
Cliribtm.is  piece. 

Betsy  and  I  are  out,  !)>■  Will  Carlelon. 

The  Blue  and  the  Gray.     For  Decora- 

liori  D.iV. 
The  Boys,  by  Oliver  Wendell  Holmes. 

The  ever  popular  class  poem. 
The  Bridge.     The   celebrated  poem  by 

Longfellow 
The  Child  Wife,  humorous,  from  David 

CopiierricKI. 
Bugle  Soag  and  Charge  of  the    Light 

BrigaJe,  liv  rennvson. 
The  Creeds  of  the  Bells.    Affords  cxcel- 

leiU  oppoituiiilics  (or  vocal  <lisplay. 
Crossing  the    Carry.       Humorous,    by 

"  Adiron<l.uk  "  Nlurrav. 
Death  of  Little  Joe  and  Death  of  Little 

Nell,  by  Charles  Dickens.      Both  pa- 
thetic. 
Der  Coming  Man,  German    dialect,  by 

Chas.  FoUen  Ailanis. 
The    Dying   Christian,    by   Alexander 

Pope.     Excellent  for  Sund.iv-schools. 
Evening  at  the  Farm,  by  J.T.  Trow- 

brKi.i^e.     A  beautiful  pastoral  poem. 
Experience  with  European  Guides,  by 

M.irk  Twain.     Humorous. 
Independence  Bell.   l-"or  Fourth  of  July. 


The  Irish  Schoolmaster.     Irish  dialeA 

John  Maynard,  thrillinK  and  heroic. 

Launch  of  the  Ship,  by  Henry  VV.  Long« 
k-llow.     I'.xi  illciil  lor  vocal  tiaining. 

Memory  of  Washington,  by  lldward 
ICverett.    l''or  WasliinKton'.s  Kiilliday 

The  Modern  Cain.  Strong  temperanco 
piece. 

Nobody's  Child.    Exceedingly  pathetic- 

The  Old  Yankee  Farmer,  Yankee  Dia- 
lect. 

Palmerston  and  Lincoln.  A  striking 
piece  ol   lii^loncal  lileralme. 

Patrick  Dolan's  Love   Letter.      Irish 

coiiltiliK. 
Pat's  Excelsior.      Irish  parody  on  the 

f)rij.;iii:il  pociii. 
A  Piece  of  Bunting, 
The  Relief  of  Lucknow  and  The  Re 

volutionary  Rising,  strong  jiatiiolic 

selections. 

Scrooge  and  Marley.  A  most  interest- 
ing extract  lioni  Dickens'  Christmas 
Carol. 

The  Smack  In  School.     Very  anmsing. 

Spartacus  to  the  Gladiators.     Known 

to  cvel  >■  school  boy. 
William  Tell.     ThrilliiiK  and  dramatic 
Will  the  New  Year  Come   To-night 

Mamma?    fatheiic 
Why  he  Wouldn't  Sell  the  Farm.     Pa- 
thetic and  jiatriotic. 


NUMBER    TWO 


Ibigail  Becker.    A  thrilling  description 

of  a  rescue  at  sea. 
Andrew  Jackson,  by  George  Lippard. 

Kxcellent  for  teaching. 
Arnold  Winkelreid.     A  dramatic  inci- 
dent in  the  historv  of  Switzerland. 
The  Barn  Window,  by  Lucy  Larcom. 

(7o  "d  for  readini;  classes. 
The  .Jells  of   Shandon,    excellent   for 

vocal  cu't\ire. 
The  BlacKS-Tiith's  Story.      A  thrilling 

incident  as  a  result  of  the  War  of  the 

Rebellion 
Black  Ranald,  ny  Phcjebe   Gary.     Dra- 
matic. 
Buck  Fanshaw's   Funeral,   by    Mark 

Tw.iin.     Humorous. 
A  Chrisfmas  Carol.     For  Christmas. 
Darius  Green  and  His  Flying  Machine, 

bv  I.  T.    Trowbridtce.      Humorous. 
Dowe's  Flat,  1856,  by  F".  Bret   Harte. 

.\  store  of  the  early  days  of  California. 
Eva's    Death.      From     Uncle    Tom's 

Cabin,  pathetic. 
Excelsior,  bv  Henry  W.  Longfellow.    A 

poi'ii  of  world-wide  popularitv. 
The  Ghosts,  by   Uenry  W.  Longfellow. 

Extract  from  Hiawatha. 
Kentucky       Philosophy,       sometimes 

known  as  the  '"  Watermillion  Story." 

Necrro  Dialect. 

■<iherty    and    Union.     The  celebrated 
«?eech  of  Daniel  Webster. 


Lochinvar's  Ride,  by  Sir  Walter  Scott 
AUvas  s  pfipul.ir. 

The  Minute  Men  of  '75,  by  George  Wil- 
liam Curtis.  A  beautiful  patriotic 
address. 

Miss  Maloney  on  the  Chinese  Question, 
hv  Marv  Mapes  Dodge,   liish  humor. 

The  New  Church  Organ,  by  Will  Carle- 
ton.     Spinster  characterization. 

A  New  Year's  Address,  by  Dr.  Edward 
Brooks,  A.M. 

North  American  Indians.  Excellent 
for  declamation. 

The  Old  Man  in  the  Model  Church.  A 
pathetic  old  man  ch.iracterization. 

Over  the  Hill  to  the  Poorhouse,  by  Will 
Carlcton.     Pathetic. 

The  Polish  Boy.     Very  dramatic. 

The  Puzzled  Dutchman,  German  dia> 
Icct. 

The  Red  Jacket.  A  thrilling  descrip- 
tion o*"  a  fire  scene. 

Rum's  Maniac.  Dramatic;  strong  tem- 
perance piece. 

Schnieder  sees  Leah.  A  German's  ver- 
sion of  a  scene  from  Leah  the  For- 
saken. 

The  Soldier's  Reprieve.     A  beautiful 

stor\-  lold  of  r^re^iilenl  Lincoln. 
The  Spanish  Armada,  by  T.  B.  Macau- 
lax-.      Historic  .itirl  (Irani.itic. 

Washington  as  a  Civilian.  For  Wasl» 
ington'5  Birthday, 


NUMBER  IIMREE 


The  American  Flag,  by  Joseph    Rod- 
man Drake.     Patrioti<-. 
Bardell    and    Pickwick,    liv    Chr.rlcs 

Dickens.  The  famous  trial  stene. 
The  Baron's  Last  Banquet.  Dramatic. 
The  Battle  of  Beal  an'  Duine,  by  Sir 

Walter  Scott.     A  strong  war  poem. 
The  Dutchman's  Serenade.      German 

dialect. 
The  Eagle's  Rock.     Very  dramatic. 
The  Famine.     From  "  Hiawatlia." 
A  Florentine  Letter  ;  From  Exile  ;  The 

Gladiator  ;  ail  dramatic. 
Good-night,  Papa.     Beautiful  temper- 
ance recitation. 
The  Hypochondriac.     Humorous, 
If  I  Should  Die  To-night.    Suitable  for 

Sunday-schools. 
The  Indian  Chief  to  the  White  Settler, 

by  Edward   Everett.     Popular   prose 

declamation. 
Kit  Carson's  Ride,  by  Joaquin  Miller. 

A  stirring  incident  of  prairie  life. 
The   Kitchen  ClocK,  by  James   Vance 

Cheney.    Humorous  and  exceedingly 

popular. 
taughin'    in    Meeting,   by  Harriet 

Beecliei'  Stnwe.      Humorous, 
Licensed  to  Sell ;  or,  Little  Blossom. 

Temperance. 
Maud    Muller,    by  John    G.   Whittier. 

Always  acceptable. 


The  Monster  Cannon,  by  Victor  Muga 

Dram.itic  descnptiotv 
Natinnal   Monument    to  Washington, 

I'oi   \\  abliin^tons  Kiilli.lav. 
Ode  on  the  Passions,  by  Colliiis.    Ex' 

cellent  lor  voice  culture. 
The  Painter  of  Seville.     Strong  and 

very  popular. 
Parrh'assius  and  the  Captive,  by  N.  P. 

Willis.     Dramatic. 
Poor  Little  Jim.     Pathetic  story  of  tlia 

mines. 
Power  of  Habit,  h>'  John   B.   Gough. 

Striking  teiniierance  selection. 
Reaching  the  Early  Train,   by   Max 

Adler.      Humorous. 
Reply  to  Mr.   Corry,   by   H.   Grattan. 

Forensic  oratory. 
Rock  of  Ages.     Contains  singing  parts. 
The  Senator's  Dilemma,  by  James  De 

Mille.     Humorous. 
Signs  and  Omens.     German  dialect. 
Tell  on  His  Native  Hills.     Patriotic. 
The  Three  Fishers,  by  Charles  Kings- 

!e\-.     Tendei  and  pathetic. 
The   Two   Glasses,    by   Ella  Wheelet 

VVilcox.      Temperance. 
The  Vagabonds,  by  J.  T.  Trowbridge, 

Pathetic,   dramatic,    and   always   ac- 
ceptable. 
Woman,    by    Tennyson.      A    pleasing 

tribute  to  the  sex. 


NUMBER  FOUR 


The  Angels  of  Buena  Vista,  by  John  G. 

Whittier.      A    very    dramatic    battle 

scene. 
The  Battle  of  Bunker  Hill.      Strong 

patriotic  i)oem. 
Battle  of  Lookout  Mountain, by  George 

H.  Boker.     A  thrilling  description. 
Battle    Hymn    of    the    Republic,    by 

Julia  Ward  Howe.    Stirring  patriotic 

poem. 
The  Black  Horse  and  His  Rider,   by 

Charles  Slieppaiii.     A  line  prose  pa- 
triotic declamation. 
The  Burning  Prairie,  by  Alice  Carey. 

Dianiatic. 
The  Cause  of  Temperance,  by  Jc^in  B. 

(;(iiii;h.     Strong  temperance  piece. 
Centennial  Oration,  bv  Henry   .Armitt 

Blown.     F'me  prose  declamation. 
The  Christmas  Sheaf.     A  Norwegian 

Christmas  story. 
Curfew  Must  Not  Ring  To-Night,  by 

Rose    Hartwick    Thorpe.      F'amiliar 

but  .always  popular. 
Deacon    Munroe's    Story.     Humorous 

characterization. 
The  Declaration  of  Independence.  Very 

convenient   for  p'ourlh  of  July  occa- 
sions. 
Dora,  by  Tennyson.      Dramatic   char- 

ai  teri/alion. 
The  Fire.     A  dramatic  desciiplion. 
The   Gambler's  Wife.     Pathetic   and 

dramatic. 


The  Ghost.  Sometimes  known  as 
"Abel  Law's  Ghost."  Quaint  Yan- 
kee humor. 

Grandmother's  Story.  An  old  wo. 
man  s  story  of  the  Battle  of  Bunker 
Hill. 

The  Great  Beef  Contract,  by  Mark 
Twain.     Exceedinglx'  humorous. 

Judge  Pitman  on  Various  Kinds  of 
Weather,  bv  Max  Adler.    Humorous. 

Kentucky  Belle,  by  Constance  Feni- 
more  Woolson.  A  very  popular  reci- 
sation  describing  an  incident  of  the 
Civil  War. 

ALeap  Year  Wooing,  by  David  Macrae. 
Humorous. 

A  Man's  a  Man  for  a'  That,  by  Robert 
Burns.  Populfr  Scotch  dialect 
poem. 

No  God.     Slrong  moral  selection. 

Ode  to  the  Deity.  A  fine  oratorical 
piece. 

Ode  to  the  Legislature,  by  John  G. 
Saxe.     A  s.'itiricai  pooni. 

The  Rationalistic  Chicken.  Humor- 
ous. 

The  Raven,  by  Edgar  Allen  Foe.  Fa- 
miliar to  all  but  still  given  b_\- the  bes( 
readers. 

Rienzi's  Address.  Stirring  declama* 
tiiiii. 

Tribute  to  Washington.  P'or  Wasb 
ingtun's  Birthday. 

The  Union.    A  patriotic  poem. 


NTJMBKU    FIVE 


f h« Ager.    A  humorous  fl-scripiion  of 

1  siiilfitT  with  iliills  ami  (••\ii. 
Aii'hie   Deau,    liy  i;,ul    llamilioi      A 

^lUi  iHiii  111  I'lic  coiiiifUi-'li  Older. 
Bannock-Burn,  by   Robert   Burns.      A 

Kiii  liiii;  ScoU  li  poem. 
ine  Bride  of  the  Greek  Isle,  by  Mrs. 

Mem. IMS.     Diiuiiatic. 
7  tie    Brook,     by    Tennyson.      Always 

popular. 
fcudge's  Version  of  the  Flood,  by  John 

i  labhertoii.      Cliilil   cliaiaclei i/alioii. 

\'erv  aniusiiitr. 
Ccttaline's    Defiance.       l-'amiliar    but 

ilwavs  aec'ept.il)le. 
Dedication  of   Gettysburg   Cemetery. 

rhe   eelebrated    speeeh   of  Abiahain 

LiiKoln. 
The  Flood  of  Years,  by  William  Ciilleii 

Krvaiit.     Strong   oratorical   seleetion. 
Hans  and  Fritz.     German  dialect. 
He  Giveth  His  Beloved  Sleep,  by  Mrs. 

Browiiint;.  A  l;)eauti("u!  siiiritual  ])oem. 
Heroes  of  the  Land  of  Penn,  bv  George 

l.ippaid.     r.itriolic. 
How  We  Hunted  a  Mouse.     Humorous. 
John  and  Tibbie's  Dispute.     Scutih 

diacect. 
The  Last  Hymn.     Describes  o  wreck 

at  sea.     I'arts  to  be  sung. 
The  Leak  in  the  Dyke,  by  Phtebe  Gary. 

Dramatic. 


Lost  an!  Found.     A  pa'.hetic  storv  ol 

llle  \\c.^.b  mines. 

Ma);(!alcua  ;  or,  the  Spanish  Duel.  Hu 

MIOKIII  >. 

The  Maiden  Martyr.     I'.uIh  u. 
Mc.Tibraneous  Croup  and   the  McWil 

liamses,  by  Mark    Twain.    Huino- 

ous. 
Old  Ironsides,  by  O.  W.  Holmes.    Pa- 

Iriolic. 
Over  the  Hills  and  Far  Away,  by  Miss 

Muln,k.      I'.eaulilul  bit  of  pathos. 
The  Prisoner  of  Chillon,  by  P.yron.    A 

\ery  iliaiii.ilic  seleilioii. 
The    Puritans,    by    T.    H.    Macatday. 

Strong  piose  desciiption  ol  oui  tore- 

tather.s. 

Samantha     Smith     Becomes     Josiata 

Allen's  Wife,  l.>  Jusiah  Allen's  Wife. 
llniiioii-''is. 

The  Schoolmaster's  Guests,  by  Will 

C.irleUin.      Hiinioious. 
The  Swell's  Soliloquy.    Impersonation 

of  a  dude. 

Uncle  Daniel's  Introduction  to  a  Mie- 
sissippi  Steamer,  by  Clemens  and 
Wat  iier.  One  ol  the  best  negro  dia» 
lect  ])ieces  ever  written. 

Why  Biddie  and  Pat  Married.  Amus- 
ing Irish  dialect. 


NITMBKR    SIX 


Irtemus  Sard's  London  Lecture.   One 

of   the    best   humorous    pieces    ever 

written. 
4sleep  at  the  Switch.     A  thrilling  in- 

<  ident  in  the  e.xperience  of  a  switch 

tender. 
The  Battle  of  Ivry,  by  T.  B.  Macaulay. 

.\  standard  dramatic  piece. 
The  Bridge  of  Sighs,  by  Tbom.is  Hood. 

.'\  pojiular  pathetic  ])ocm. 
A   Day  at   Niagara,  by  .Muik    Twain. 

Humorous. 

The    Deserted    House,    be    Tennyson. 

Heantiful  <lesei  iptnui  of  life  and  death. 
Doctor  Marigold,  by  CliaiUs  Dickens. 

Somitinurs    known    as   Che.i])  J.uk. 

(lood  for  charatlerizalion. 
The  Dukite  Snake, by  J.  Uoyle  O'Reilly 

Ivxceedinuly  dramatic. 
Easter  Morning.     For  Easter. 
Extract  from  the  Last  Days  of  Hercu- 

laneum.     Fine  dr.imitic  description. 

Father  Phil's  Collection.  One  of  the 
best  olthi-  liisji  dia'ect  recitations. 

Jreen  Mountain  Justice.     Humorous. 

ane  Conquest.  \'er\'  drainatic.  The 
incideul  is  th.it  of  a  wreck  at  sea. 

The  Little  Hatchet  Story,  A  humor- 
ous desi  ri|.li..ij  ol  the  incident  of 
George  Wasliington  and  the  chorry 
tree.    Very  popular. 


Miss  Edith  Helps  Things  Along,  bj 
F.iet  H.ule.  Humorous  characteriza- 
tion of  a  ]iert  child. 

The  Old  Sergeant.  A  pathetic  story  of 
the  Civil  War. 

The  Palmetto  and  the  Pine.  A  fig- 
nrati\  e  ilescription  of  the  North  and 
South. 

Relentless  Time,  by  Henry  W.  Long- 
fellow.    Good  for  tearhiirg  purposes. 

The  Ride  of  Jennie  McN<;al,  by  Will 
Carlelon.     .\  slory  of  colonial  days. 

Robert  of  Lincoln,  by  William  Cullen 
I'rv.ant.      Introduces  biid  songs. 

Satan  and  the   Grog  Seller.     A   fine 

tem|Hrau(  e  pieie. 
School  Called.     .\  iileasing  pcK-m,  illus- 

liati\  I-  ol  si  hool  life. 
Songs    in    the    Night.      .An    amusin^^ 

sleeping  car  incident. 
St.  John,  the  Aged.   Beautiful  spiritual 

Jioem. 
Thanatopsis,  by  William  Cullen   Bry- 
ant.    Excellent  for  leaching.   Always 

I^opular  as  a  recitation. 
A  Thanksgiving,  by  Lucy  Larconi.  For 

'f  haiiksgivin.g. 
Tom,  b\' Constance  Fen i more  Woo! son. 

Tells  how  a  dog  saved  the  life  of  a 

rhild. 
Valley  Forge,  bv  Henry  Armitt  Brown. 

( 'lood  for  teaching. 
Zekle,  by  James  Russell  Lowell      Van 

kee  courting. 


NtJMBFR  SEVEN 


Thk  Aai^rican  War,  by  I.urd  Chatb.ani. 
A  fiiiL  forensic  sfc)eci;on. 

The  Crescent  and  tne  Cross,  by  T.  B. 
Aklrieli.  A  beantiful  contrast  be- 
tween Christianity  and  Moliamn;ed- 
anisin. 

Cuddle  Doon.  A  pleasing  bit  of  Scotch 
dialect. 

Daisy's  Faith.  Popular  child  charac- 
terization. 

The  Death  of  the  Owd  'Squire.  A  fine 
dramatic  piece.  Scene  in  York- 
shire. 

The  Death  of  the  Old  Year,  by  Tenny- 
son.    For  New  Year's. 

The  Death  of  Nelson,  by  Robert  South- 
ey.     Good  for  teaching. 

Fair  Play  for  Women,  by  George  Wil- 
liam Curtis.  An  appeal  for  the  rights 
of  woman. 

The  Gray  Honors  the  Blue,  by  Henry  H. 
Watterson.  Good  for  Decoration 
Day. 

The  Leper,  by  N.  P.  Willis.  A  strong 
dramatic  recit.Uion. 

I/ighthouse  May.  Showing  the  hero- 
ism of  a  li,u;htliouse  keeper. 

Marco  Bozzaris,  by  Fitz-Greene  Hal- 
leck.     F.uniliar  and  popular. 

Masters  of  the  Situation,  by  Jatnes  T. 
Field.     Excellent  leaching  selection. 

Mount  Blanc  Before  Sunrise,  by  S.  T. 
Coleridge.  A  beautiful  oratorical 
poem. 


The  Night  Before  Christmas.  Alwg^i 
pojiular  for  Christ  mas  entertainments 

The  Night  After  Christmas.  A  humor- 
t)US  sequel   to  the  foregoing  selection. 

Old  Robin,  by  J.  T.  I  rowbri'dge.  How 
a  horse  saves  his  master  from  moral 
ruin. 

Our  Traveled  Parson,  by  Will  Carleton. 
Humorous. 

The  Owl-Critic,  by  James  T.  Fields 
Vers'  clever  humor. 

Paradise.     An  excellent  encore  piece. 

A  Royal  Princess,  by  Christina  Ros 
setli.     A  strong  dramatic  recitation. 

The  Ship  of  Faith.  An  exceedinglj 
good  negro  dialect  piece. 

Sister  and  I.  Pathetic  and  very  popu 
lar. 

The  South  Wind,  by  Henry  W.  Long 
fellow.     A  pleasing  description. 

Surly  Tim's  Trouble.  Pathetic  and 
very  popular.     Lancashire  dialect. 

Tom's  Little  Star.  A  humorous  poem 
describing  the  experience  of  a  stage- 
struck  woman. 

The  Village  Blacksmith,  by  Henry  W. 
Longfellow.     Alwavs  popular. 

The  Voice  in  the  Twilight,  by  Mrs. 
Herrick  Johnson.  Suitable  for  Sun- 
day-schools. 

Widow  Brown's  Christmas.  A  pleas- 
ing ("hristmas  stoi  v. 

The  Wounded  Soldier.  Pathetic.  TL« 
incident  is  that  of  a  dying  soldier. 


NUMBER  EIGHT 


After  Death,  by  Edwin  Arnold.  A 
beautiful  spiritual  poem. 

An  American  Specimen,  by  Mark 
Twain.     Humorous. 

The  Bald-Headed  Man.  Very  funny, 
introducing  an  iuc|uisitive  ciiild. 

Bay  Billy.  An  incident  of  the  Civil 
War.     Good  for  Decoration  Day. 

Better  in  the  Morning.     Very  pathetic. 

The  Character  of  Washington.  For 
VVasliiiigtuii's  Birthdav. 

A  Christmas  Carol,  by  Father  Ryan. 
A  magnificent  poem ;  parts  to  be 
chanted. 

Uoney  Island  Down  Der  Pay,  bv  Henry 
Firth  Wood.     German  dialect. 

The  Defense  of  Lucknow,  by  Tenny- 
son.    A  patriotic  recitation. 

The  Emigrant's  Story,  by  J.  T.  Tiow- 
bridge.  The  incident  is  that  of  a 
storm  on  the  prairie. 

The  Everlasting  Memorial,  by  Hora- 
tius  F.onar.  (iood  for  Sunday-schools 

The  First  Quarrel,  by  Teimyson.  Dra- 
matic and  patlu-tic. 

Her  Letter,  by  Hret  Harte.  A  story  of 
early  California  davs. 

How   "Ruby"    Played.      A   country- 
man's very  bnmorons  description  of 
the  pla\'iug  of  Rubi-nslein. 
ka  International  Episode.      Good  for 
eucore. 


Little  Feet.     Pathetic. 

Mrs.  McWilliams  and  the  Lightning, 

li\-  Mark  Twain.     Humorous. 
Nations   and    Humanity,    by    George 

William  Curtis.     Oratorical. 
Over  the  Hill  From  the  Poor  House,  bv 

Will    (Carleton.      A  sequel  to  "Over 

the  Hill  to  the  Poor  House." 
An  Order  for  a  Picture,  by  Alice  Carev. 

A  very  acceptable  pathetic  selection. 
Peace    in    God,    by    Harriet    Beechet 

Stowe.     For  Sunda^■-schools. 
A  Practical  Young  Woman.  Humorous, 
Reckoning  with  the  Old  Year.      For 

New  Year's. 
Reply  to   Hayne,  by  Daniel  Webster. 

()ralorical  and  good  for  teaching. 
Rest,   by   George   MacDonald.     Good 

for  Sunday-schools. 
Scene  from  Leah  the  Forsaken.  Gener- 

allv  known  as  the  "  Curse  Scene." 
Setting  a  Hen.   German  dialect.   Some- 
times  known   as   Sockery  Setting   a 

Hen. 
The  Sioux  Chief's  Daughter,  by  Joa 

qiiin  Miller.     Very  dramatic  and  ex- 

ci-edingly  i)opular. 
A  Tale  of   the  Yorkshire   Coast.      A 

pathetic   selection    in  Yorkshire  dia- 
lect. 
Vashti,   by  Julia  C,  R..  Dorr.     Vent 

popular. 


NUMBER  NINE 


ffbe  Aged  Stranger ;  or,  I  Was  With 

Giant,    by    Wiui    Ilailc.      llumuiijus 

iiu  i.kTit  Ml  tliL-  ('i\  il  War. 
Awfully  Lovely  Philosophy.    Charac- 

leri/.iliori     of    a    fjii^liiiig,    asthetic 

viiiiTu;  yii'I. 
Baby 's  Visitor,     r'ncoie. 
Bertha  in  the  Lane,  by  Mis.  Browning. 

I'kMsini;  pallios. 
Brier  Rose,  \>y  njalmar  Iljortli    Boye- 

siii.     A  thrilling;  XorwtKian  story. 
The   Child   on    the   Judgment    Seat. 

M  iral  aiul  spiritual.     tJood  for  Sun- 
day-schools 
A  Christmas  Ballad.   A  pathetic  Christ- 

ni.is  slor\-. 
Connor,     \\r\-  pathetic  and  popular. 
The    First    Party.      Humorous   child 

characterization. 

Horatius   at    the    Bridge,    by    T.    B. 

Macaulay.     Heroic.     \'erv  popular 
Last  Prayer  of  Mary  Queeii  ot  Scots. 

Pallielic  and  dramatic. 
Lookout  Mountain.     German  dialect. 
Master  Johnny 's  Next-door  Neighbor, 

bv    Hret    Harte.      Hoy    charai  teriza- 

tion. 
Mrs.  Walker's   Betsy.      A   story   of 

humble    life     told     in     i^raphic     lan- 

Kuage. 
Mrs.  Ward's  Visit  to  the  Prince.    Su- 
,  nerior  Yankee  dialect 


The  National  Ensign.   A  patriotic  i«b 

lanialioii 

The  Palace  of  the  King.  Scotch  dia- 
lect. 

Rover's  Petition,  by  James  T.  Fields, 
A  good  (  hild's  piece. 

The  Sailing  of  King  Olaf.      Beautiful 

sentiment. 

Sam's  Letter.  An  extract  from  'Our 
■American  fousin." 

School  Begins  To-day.  Appropriate 
lor  llie  opt-ning  of  schools. 

Selling  the  Farm.  A  pathetic  story  of 
farm  life. 

Song  of  the  Camp,  by  Bayard  Taylor. 
InlriHlnces  llic  song  of  /Vnnie  Laurie. 

St.  George  and  the  Dragon.    Dramatic, 

Terpsichore  in  the  Flat  Creek  Quarters. 
Describes  a  dance  among  the  ne- 
groes. 

Thoughts  for  a  New  Year.  For  New 
\'ear's. 

Tribute  to  Washington.  For  Washing- 
ton's Birlhdav. 

The  Truth  of  Truths,  by  Ruskin. 
Good  for  teaching. 

Unnoticed    and     Unhonored     Heroes 

(iratoiiral. 

The  White  Squall,  by  William  M. 
'Ihackerav.     1 1  iimoTous. 

The  Widow  and  Her  Son,  by  Washing- 
ton Irving.     Beautilul  and  pathetic. 


NUMBER  TEN 


Armageddon,  by  Edwin  Arnold.    The 

war  cry  of  the  future. 
Balaklava.      A   dramatic  incident   in 

the  Ciimean  war. 
The  Blind  Lamb,  by  Celia  Thaxter.     A 

Iileasing  child's  recitation. 
Caught  in  the  Quicksand,   by  Victor 

Hugo.     Very  dramatic. 
Chickamauga.'     Good  for  Decoration 

Dav. 
The  Death  of  Rowland.     Heroic. 
Despair,  by  Tennxson.     Dramatic. 
Dick  Johnson's  Picture.     Au  interest- 
ing Icinperance  piece. 
Drifting,  by  Thomas  Buchanan  Read. 

A  mo>l  pleasing  recitation. 
Herve  Riel,  by  Robert   Browning.     A 

fine  di.amalic  recitation. 
The  Irrepressible  Boy.     Introduces  an 

inquisitive  boy. 
Jamie,  by  R.  C.  V.  Meyers.     Dramatic 

and  pathetic. 
LarrieO'Dee.     Irish  dialect. 
The  Law  of  Death,  by  Edwin  Arnold. 

I'athflic. 

Little  Dora's  Soliloquy.  Child  charac- 
tei  iz.'ition. 

Little  Rocket's  Christmas,  bv  Van- 
dyke Brown.  A  pleasing  Christmas 
stors-, 

The  Lost  Found,  by  Henrv  W.  Long- 
fellow An  extract  from  "Evange- 
line." 


Mick  Tandy's  Revenge.    Pathetic  but 

with  a  pU-asing  tiiiling. 
New  England's  Chevy  Chase,  by  Ed- 
ward l-:\erett  Hale,      I'.itriotic. 

The  Old  Year  and  the  New,  by  Eben 

Rex  ford.     For  .\ew  Year's. 
The  Phantom  Ship,  by  Celia  Thaxter. 

A  tale  of  a  slave  sliip. 
A  Railway  Matinee,  by  R.J.  Burdette, 

\'er\'  amusing. 
Rizpah.     railielic.     Parts  to  be  sung. 
A  Reminiscence  of  Exhibition  Day,  by 

R.J.  Biirdelte.      Humorous. 

Rev.  Gate  Tucker's  Remarks.  Negro 
dialect. 

The  Schoolmaster  Beaten,  by  Charle« 
Dickens.  -  Dramatic.  Excellent  for 
characterization. 

The  Shriving  of  Guinevere,  by  Dr.  S. 
Weir  Mit<  bell.     Dramatic. 

The  Sky,  by  Ruskin.  A  beautiful  de- 
scriptii'ii. 

Theology  in  the  Quarters.  Negro  dia- 
lect. 

Tilghman's  Ride.  How  hebrougbt  the 
news  from  Vorktown  to  Philadelphia. 

To  the  Survivors  of  the  Battle  of  Bun- 
ker Hill,  by  Dani.  1  Webster.  I'atri- 
olic  and  oratorii  al 

The  True  Story  of  Little  Boy  Blue.  A 
pl.-asin-  cbil.l's  iii.d- 

The  Wayside  Inn,  by  Adelaide  ProctMB 
Pathetic. 


NUMBER'  ELEVEN 


Ikpostrophe  to  the  Ocean,  by    Byron. 

Kxcellcnt  for  vocal   tiiiiiiiiij;. 

The  Bobolink.  AHords  opportunities 
|V>r  bird  tones. 

Catching  the  Colt.  A  good  recitation 
for  voung  lolks. 

The  Clown's  Baby.  A  pleasing  inci- 
dent of  life  ill  a  initiin<^  c'amp. 

The  Convict's  Soliloquy  the  Night  be- 
fore Execution.  E.xceedingly  dra- 
matic. 

Death  of  Little  Dombey,  by  Charles 
Dickens,     l^atlietio. 

The  Dutchman's  Snake.  Very  amus- 
ing. 

Echo  and  the  Ferry,  by  Jean  Iiigelow. 
A  beautiful  descri|)tioii. 

Flash,  the  Fireman's  Story,  by  Will 
Carletoti.     Humorous. 

The  Foxes'  Tails  ;  or  Sandy  MacDon- 
ald's  Signal.  One  of  the  most  de- 
servedly popular  humorous  pieces  in 
print. 

The  Freckle-Faced  Girl.  Humorous 
characterization  of  a  pert  voung  girl. 

The  Froward  Duster,  by  R.  j.  Bufdette. 
Hiimormis. 

Garfield  at  the  Wheel.     Patriotic 

The  Grandmother's  Apology,  by  Tenny- 
suii.     <  )lil  lady  characterization. 

Yerry.     Newsboy  impersonation. 

The'Lisping  Lover.     Encore. 


Little  Gottlieb's  Christmas.     A  ploa* 

iiii;  riiiishuas  sti  i  \  of  vierniany. 

Mice  at  Play.     Hurn'or.  ms. 

Mona's  Waters.     Higliiv  dramatic 

No  Kiss.     Kncore. 

The  Old  Year  and  the  New,  by  Joseph 
ine  Pollard.     For  New  Year's. 

One  Flower  for  Nelly,  by  Rose  Hart- 
wick  Thorpe.     For   Easter. 

The  Prospects  of  the  Republic,  by  Ed- 
ward ICNcictt.     (iiatdiicai. 

Queen  Vashti's  Lament.  Dramatio 
aiul   pallutic. 

Rock  Me  to  Sleep.     Pa'betic. 

Romance  of  a  Hammock.  V  ery  clevet 
humor. 

The  Shadow  of  Doom,  by  Celia  Thax- 
ter.     A  (Iranialic  recital. 

Song  of  the  Mystic,  b>  Father  Ryau. 
A  beautifnl  mural  and  religious  poem. 

Sunday  Fishin'.     Negro  dialect. 

Supposed  Speech  ot  Johr.  Adams  on  the 
Declaration  ot  Indepenoence,  bv  Dan- 
iel Webster.     P.iti  lotic. 

A  Telephonic  Conversation,  by  Maiv 
Twain.     Humorous. 

Thora,  by  HJalmar  Hjo  tb  Boyeseij. 
A  Norwegian  story. 

Ticket  o'  Leave,  by  Geo-ge  R.Sims. 
Dramatic. 

Where's  Annette  ?     Dramatic. 

The  Wonders  of  Genealogy.   Humorous. 


NU3IBER    TWELVE 


Aux  Italiens,  by  Robert  Bulwer  Lytton. 
(^intaius  singing  p.irts.  Very  popular. 

*lallad  of  Cassandra  Brown.  A  tra- 
vesty on  some  nf  the  modern  forms 
of  exaggerated  eluciitiou. 

The  Battle  Flag  of  Shenandoah,  by 
Joaquin  Miller.  A  patriotic  poem  of 
\be  Civil  War. 

The  Bells,  by  Edgar  Allen  Poe.  Ex- 
cellent for  vocal  culture. 

Bells  Across  the  Snow,  by  Frances 
Ridley  Havergal.  A  pleasing  Christ- 
mas IJOein. 

The  Blind  Poet's  Wife,  by  Edward 
Coller.     A  pleasing  narrative. 

The  Book  Canvasser,  by  Max  Adler. 
Humorous. 

Sarnest  Views  of  Life,  bv  Austin 
Phelps,  D.  D.  An  instructive  tlec- 
lamation. 

The  Fall  of  Pemberton  Mill,  bv  Eliz- 
abeth Stuart  Phelps.  One  of  the  most 
pathetic,  dramatic,  and  generally  ef- 
fective recitations  in  print. 

A  Fly's  Cogitations.     Humorous. 

Good-bye.  A  humorous  illustration  of 
how  women  say  good-bye  to  each 
other. 

How  Girls  Study.  Good  piece  for  im- 
personation. 

How  the  Gospel  Came  to  Jim  Oaks.  A 
patlietic  slnis   cii   a  minint;  <  amp, 

lesus,  Lovei  oi  My  Soul,  by  Eugene  J. 
Mall.  Very  pleasing.  Parts  to  be  sung. 


Jimmy  Brown's  Steam  Chair.    Highly 

amusing. 
Lasca.     Dramatic  and  pathrtic.    Scene 

fin  a  Texas  cattle  ranch. 
The  Legend  of  the  Beautifuf .  by  Henry 

W.    L<jngfellow.      A  stroiiK  spiritual 

piece. 

Lincoln's  Last  Dream,  by  Hezekiab 
butterwoi  th.     A  patlictiL  prem. 

The  Newsboy's  Debt,  bv  Helen  Hunt 
Iaiks(.n.      Pathetic. 

Over  the  Orchard  Fence.  Ol  i  farmer 
cliaractcri/ation 

Popular  Science  Catechism.  Humor- 
ous. 

Receiving  Calls.  A  bumorou?  experi- 
ence of  a  minister's  wife. 

Santa  Claus  in  the  Minrs.  A 
piipular  Clu  islmas  story  of  a  niiniug 
(am].. 

The  Serenade.     Encore. 

She  Cut  His  Hair,  by  the  Danbury 
News  Man.     Humorous. 

The  Skeleton's  Story.  A  fine  dr.- malic 
description. 

Teddy  McGuire  and  Paddy  O'F^ynn. 
hish  ciiaiect 

Temperance,  by  the  Rt.  Rev.  Johi>  Ire- 
land. .\  strong  address  on  temper- 
ance. 

A  Ter'ble  'Sperie.nce,  bv  Rev.  Plato 
jolinsoii.      Neeio  Dialed. 

Total  Annihilation.  A  good  en*-**^ 
piece. 


NUMBKR  THIRTEEN 


The  Ancient  Miner's  Stoty,  by  Will 

<  million.     F'.itlutic. 
Anstarchus  Studies  Elocution.     A  ir;i- 

\csty  oil  sonic  kinds  ol  luoderu  elo- 

lUllOII. 

At  Last,  hy  John  C.  Wliillicr.    A  beau- 

l.lul  spiiiliiai  piioin. 
Aunt  Polly's  Gcorge  Washington,    Ne- 

l;io  (iinlcct. 
Baiifoid's  Burglar  Alarm,    lixceediiig- 

\\   ;imiisilii;. 

Canada.  A  pli-iisln^  iribule  to  our 
iiMisiiis  .Kioss  llic  l)ordi.-i. 

The  Chase,  l>y  Waller  ScoU.  Very  dra- 
in.itii'. 

A  Child's  Dream  of  a  Star,  by  Charles 

UlikcllS.       I'.illlrlio. 

Ego  et  Echo,  liy  John  G.  Saxe.  AfTonls 
excellent  oppoHunilies  lor  vocal  dis- 
pla\ . 

The  Humblest  of  the  Earth  Children, 
bv  Ruskiii.     A  fine  deS' niUion. 

In  the  Signal  Box,  a  Station  Master's 

Story,  by  Cicui  l;'-  ■<.  Suns.  Very  pa- 
the*-v-. 

The  Little  Quaker  Sinner.  A  •good 
child's  piece. 

Lead  theW^y,  by  l.yman  Abbolt.  A 
hue  -"sclainatii)!!. 

The  Legend  of  the  Organ  Builder,  by 
Julia  C  R.  Dorr.  A  pathetic  descrip- 
tion. 

NUMBER 

Ballad  of  the  Wicked  Nephew,   by 

James  T.  l-'ieMs.      Hum.irous. 

Battle  of  Morgarten,  bv  Mrs.  Hemans. 
Heroic. 

B"  a  Woman,  by  Dr.  Edward  Brooks, 
A.  M.     .\  beantil'ul  poem. 

Bill  and  Joe,  In-  Oliver  Wendell 
IImIiiics.     I'lea!iiiiij  and  clever  hiimi>r. 

Bruider  Yerkes'S  Sermon.  Xe-ro  dia- 
lect. 

A  Culprit,  by  Margaret  Vandegrift. 
Humorr)iis 

••  aniel  Gray,  bv  J.  G.  Holland.  Beau- 
tiful description. 

*he  Day  is  Done,  by  Henry  W.  Long- 
fellow. The  ever  pleasing  and  pop- 
ular poem. 

'ihe  Death  of  Steerforth,  by  Charles 
Dickens.     I'-xccedintclv  dramatic. 

ihe  Drummer  Boy  of  Mission  Ridge. 
Excellent  for  G.  A.  R.  cjccasions. 

Going  for  the  Cows,  by  Kngene  J.  Hall. 
liitiO'Uices  various  calls. 

The  Great  Issue,  by  Edward  Everett. 
(jratDiical.     Good  for  teach  in  fj. 

Jimmy  Brown's  Sister's  Wedding. 
\ery  amnsin<;. 

june,  by  James  Russell  Lowell.  A  well- 
known  poem. 

Jupiter  and  Ten,  bv  James  T.  Fields. 
F-:ncon-. 

King  Harold's  Speech  to  his  Army  be- 
fore the  Battle  of  Hastings,  by  Bul- 
wei    Lvttot:      Heroic 


Let  the  Angels  Ring  the  Bells.      A 

plcisiiii^  (  hiistm.is  poem. 

Lord  Dundreary  in  the  Country.  A 
\  cry  I. ikin>;  extract  from  "Our  Aineri» 
can  CouMii." 

Mary's  Night  Ride.  .An  extrait  from 
"  Dr.  Se\  ler."     Dramatic. 

Mother  and  Poet,  by  Mrs.  Browning. 
I  )ram.ilic  and  palhetic. 

A  New  Cure  for  Rheumatism ,  b\  Robert 
J.  H.Didetle.     1  linhK' amusing. 

The  Old  Continentals.  A  pUasinj;  ti  ib- 
ijte  to  the  M.Ulieis  olctiloniai  limes. 

The  Old  Man  Goes  toTov/n.  Kxceik-nt 
oppoiunulies  lor  old  man  character- 
ization. 

Our  Relations  to  England,  by  Edward 
I'Acrelt.     (Jiatorlcal. 

Out  to  Old  Aunt  Mary's,  by  James 
Wh;lc(Mnb  kiley.  One  of  this  au- 
thor s  mii-t  ]>cpi:lar  poems. 

Regulus  to  the  Carthagenians,  by  E. 
Kelloi^g.  Familiar  but  always  ac- 
ceplaliie. 

Song  of  the  American  Eagle.  A  good 
pati  lolic  pot  Ml. 

The  Spring  Poet.     Humorous. 

The  Iwo  Stammereis.    \  ery  amusing. 

The  V-a-s-e.  A  Immoroiis  description 
of  the  dillerent  pronunciations  of  tlH" 
word. 

The  Yosemite.  A  sublime  descriptioi 
of  the  lar-lanied  valley. 

FOURTEEN 

The  Life-Boat,  bv  George  R.Sims.  Pa 
thetic. 

The  Miseries  of  War,  by  Chalmers 
Oratorical. 

Money  Musk.  A  description  of  a  ne- 
gro d.iiice. 

A  Mother's  Portrait,  by  Cowper.  A 
\<r\-  pathetic  l)'xni. 

Nearer  Home,  by  F'hiebe  Cary.  A  beau 
tiful  spiritual  poem. 

The  Night  Watch,  by  Francois  Cop- 
pee.     \  ery  diamatic. 

Pockets,  by  Julian  Hawthorne.  A 
slroni;  descriptive  piece. 

The  Puritan,  b\  George  William  Cur- 
tis.    .\  liibiite  to  our  forefathers. 

The  Romance  of  the  Swan's  Nest,  by 
Mrs.  Browning;.  A  beautiful  dcscrip- 
tif>n. 

A  Second  Trial,  by  Sara  Winter  Kel- 
loRg.  How  a  boy  almost  failed  in  his 
commencement  oration. 

The  Ship  of  State.  A  patriotic  decla- 
mation. 

The  Sweetest  Picture,  by  Alice  Cary. 
.\  most  acct-ptab'L-  poem. 

A  Tear  of  Repentance,  by  Thomas 
Moore.     .\  beautiful  description. 

The  Tender  Heart,  by  Helen  3 ray 
Cone.     Encore. 

The  Widow  Cummiskey.  Clever  Iris! 
wil. 

Ulysses,  by  Tennyson.  A  pieasin^dft 
scription. 


NUMBEK  FIFTEEN 


b<«iftrica.     A  patriota'  [.oem. 

Ti.e  Bachelors.     Itxco.Vnt  liumor. 

The  Bartholili  Statufi,  by  Julian  llaw- 

Uimne.      An  eloquent  tribute  to  the 

l.juililess  or  Libeily. 
Becalmed.     Ver)'  dramatic. 
Childhood  Scenes     A  beautiful  descrip- 
tion. 
Christmas  Guests      A  good  Christmas 

story. 
Commerce,  by    Edward    Everett.      A 

scrong  declamatory  selection. 
V  Concord  Love  Song.  Encore. 
David's  Lament  for  Absalom,  by  N.  P. 

Willis.     I'atlietic  and  popular.     Hx- 

cclk-nt  fur  teacbing. 
The  Death  of  Jezebel.    Very  dramatic, 
fhe  Fading  Leaf,   by  Gail  Hamilton. 

A  beautiful  description. 
Fall   In  I    i860,  by  George  W.   Cable. 

.•\n  incident  in  the  formation  of  tbe 

Soutbern  Aruiv. 

Flag  of  the  Rainbow,  by  Thomas 
Uunn  English.     Patriotic. 

Grant's  Place  in  History.  An  histori- 
cal description. 

The  Gray  Champion,  by  Nalbaniel 
Hawthorne.  Einl)udies  the  spirit  of 
American  freed<ini. 

Guessing  Nationalities,  by  Mark 
Twain.     Hunmrous. 

li  the  Children's  Hospital,  by  Tenny- 
son.    Pathetic. 


Ireland  to  be  Ruled  by  Irishmen,  bj 

William  E.  r,lad>tone.  Irish  patriot- 
ism.     (iood  liii  dLclamalii'ii. 

King  Arthui  and  Queen  Guinevere,  by 
I  cii;i\  Sun.      A  beaiitllul  rtcilaiitiii. 

The  Kiss  Deferied.  A  pleasing  pathetic 
poem.     \\.r\  pojiular. 

La  Tour  d'Auvergne.     Heroic. 

Little  Foxes,  li>  K.  J.  Burdelte.  Aa 
instructive  si  In  lion. 

Mrs.  Picket's  Missionary  Box.  Good 
inr  missiouary  oc|.'asions. 

Music  in  Camp.  P  reqnenlly  known  as 
"  Music  on  the  Rappahannock." 
I'aits  to  be  sung.     Very  popular. 

An  Old  Roundsman's  Story,  by  Mar- 
garet Extiiige.     Por  Christmas. 

A  Perfectly,  Awfully,  Lovely  Story. 
An  asthetic  exaggeration. 

The  Price  of  a  Drink,  by  Josephine  Pol< 
lard.    Good  for  temperance  occasions. 

She  Wanted  to  Hear  it  Again.   Encore. 

Speech  Against  the  Stamp  Act,  by 
James  Otis.     C>ratoiical. 

A  Strange  Fxperience,  by  Josephine 
I'ollard.     A  guod  girl's  piece. 

The  Three  Kiiigs,  by  Henry  W.  Eoti.8;- 
fellow.     .A  guild  descriptive  pneni. 

A  Tragedy  on  Past  Participles.  Hu- 
moiinis. 

The  Two  Runaways,  by  H.  S.  Ed- 
wards. Negro  dialect.  Humoious. 
Very  popular. 

Watcii  Night,  by  Horatius  Bonner. 
P"or  New  Year's. 


Nl/MBER  SIXTEEN 


B^ck  from  the  War,  by  T.  DeWitt  Tal- 
mage.     tJood  for  G.  A.  R.  occasions. 

The  Battle  Hymn.  Oratorical  and 
good  for  teaching. 

Tails.  A  minister's  somewhat  curious 
boy  endeavors  to  get  an  e.\planation 
of  ministerial  calls.     Very  funny. 

The  Chariot  Race,  by  Lew  Wallace. 
One  of  the  most  popular  pieces  ever 
written.  An  extract  from  "  Ben  Hur." 

The  Christening.  An  amusing  incident 
of  how  a  child  was  misnamed  in  the 
christening. 

The  Curse  to  Labor,  by  T.  V.  Powderly. 
A  strong  appeal  for  temperance 
among  the  laboring  classes. 

The  Day  of  Judgment,  by  Elizabeth 
Smart  Phelps.  An  amusing  incident 
of  two  children  who  thought  the 
world  had  come  to  an  end. 

Decoration  Day,  by  Wallace  Bruce.  A 
beautiful  i)atriotic  poem. 

The  Elf  Child,  by  James  Whitcomb 
Riley.  Sometimes  known  as  "  The 
(Tobhle-uns'll  Git  You." 

Fraudulent  Party  Outcries,  bv  Daniel 
Webster.     Oratorical. 

Ari  Invitation  to  the  Zoological  Gar- 
dens.   .\  very  funny  stultenng  piei:e. 

Jimmy  Hoy,  by  Sanniel  Lover.  A  capi- 
tal Irish  dialect  prose  selecliott. 


Lily  Servoss's  Ride,  by  Judge  To»  rgee, 

'1  be  incident  taUes  place  at  th<  close 

of  tbe  war  during  the  ravages  ^  /  the 

ku-Klux. 
Tne  Message  of  the  Dove,  by  E.  Nrsbit. 

.\  diamalii    b.aster  poem. 
The  Mourner  a  la  Mode,  by  John  G. 

Saxe.     A  satirical  poem. 
The  New  South,  by  Henry  W.  Grady. 

A  grajiliic  descriptifm  of  the  present 

condition  ol  the  South. 
An  Old  Sweetbeait  of  Mine,  by  James 

Whitcomb    Riley.       A    very   populai 

poem. 
The  Portrait,  b\    Lord  Lytton.    Very 

dramatic  and  eMeedingly  popular. 
Praying  for  Slices,  bj-  Paul  Hamilton 

IhiNiie.     Fat  belie. 

Song  of  the  Mountaineers,  by  T.  Bu- 
clumaii  Read.     A  ]iati  iotic  poem. 

The  Tell-Tale  Heart,  by  Edgar  Allen 
Prie.  A  mnideur's  confession.  Ex- 
ceedingly di  amalic. 

The  Thanksgiving  in  Boston  Harbor, 
by  HezeUiab  I'.utlei  w  (irlh.  A  splen- 
did Tb.iiiksgiving  piece. 

Topsy's  First  Lesson,  by  Harriet 
Hcei  her  Stowe.  An  extract  f.-om 
"  liu  le  Tiini's  Cabin."     Very  funny. 

Toussaint  L'Ouverture,  by  Wendell 
Phillips.    OraluricaL 


SCnVtlSER  SEVENTEEN 


tlexander's  Feast ;  or.  the  Power  of 

Music,  by  DiNilcn.  A  lx;aiililiil  il)> ili- 
um ,il  pocin. 

Army  of  the  Potomac,  by  Joaquin 
Miller.  An  rxtcllci.t  poem  for 
G.  A.  R.  mrasiiius. 

Aunt  Melissy  on  Boys,  by  J.  T.  Trow- 
bridge. Pile  iiKident  ij  tbat  of  tur- 
keys becoiiiiiijc  iiitDxica.ed  by  eating 
Corn  soaked  in  luni. 

Dead  on  the  Field  of  Hoi.or.    A  good 

doi  lani.ilion. 
Easter     Morning,     by    Henry    Ward 

BfOi  lu  T.     An  liaslL-r-iiitt  oration. 
The  First  Thanksgiving,  by  Ik/ckiah 

Hullerwonb.      A  IxjaulilLl   poem  for 

T!Kink-;.i;i\  inij  occasions. 
The  Garfield  Statue,  by  fion.  Grover 

Cleveland.       .\n   eloquenl    tribute  to 

the  niaitvred  i'le.siclent. 
Bow  We  Fought   the    Fire,    by   Will 

Carleton.    .An  arnusin,i»  poem,  descrip- 
tive of  a  fire  in  a  country  v.lliaKe. 
Inge,  the  Boy  King,  by  H.jalniar  Hjorth 

Boyesen.        An     excellent    dramatic 

selection. 
Jimmy   Brown's   Prompt    Coedience. 

Humorous. 
Labor,  bv    ThoinHS  Carlyle.     A  prose 

declamation. 
The  Land  of  Thus  and  So,  oy  James 

VVhitcdinb  Rilc>.     .\  fanciljl  poem. 
fhe  Legend  of    Rabbi  Ben  Levi,  by 


Henry  W.   I-ongfellow.     A  bcautlht 

and  insUiH  li\  e  poem. 

Lexington,  by  ( iliver  Wendell  Holmes 
A  patriolic  pocin. 

Love  of  Country,  by  Newton  Booth. 
Patriotic. 

The  Low-Backed  Car,  by  Samuel 
Lover.  Very  popular  Irish  dialect 
poem.     Humorous. 

The  Minuet-  A  pleasing  poem,  intro- 
diu  iiit;  tlif  minuet  slop. 

The  Monk's  Magnificat,  by  K.  Nesbit. 
A  veiv  ]>opular  piHin  in  wlinh  a 
chant  is  clk-i  tivcK  nitroiliu  cd 

Mr.  Brown  Has  His  Hair  Cut.  A  very 
amusing  piosc  sclin  ti(jii. 

The  Poor  and  the  Rich,  by  Janus  Rus- 
sell Lowell.  A  line  moial  and  in- 
slruclive  poem. 

The  Ride  of  Collins  Graves,  bv  John 
Boyle  O'Reilly.  A  tbrilliiig  desciip- 
tu:)n  of  the  bursting  of  a  dam. 

Rome  and  Carthage,  by  Victor  Hugo. 
.•\  slroiiti  diaiiiatic  declamation. 

Sent  Back  by  the  Angels.  I'athetic 
ami  a  vcr\  popular  selection. 

The  Silver  Plate,  by  Margaret  J.  Pres- 
ton. .\  child  oik-rs  itself  as  a  con- 
tribulion  to  a  missionary  collection. 

The  Vow  of  Washington,  by  John  G. 
\VbiUier.  Lulogislic  of  the  work  of 
Wasbiiigton. 

A  Wild  Night  at  Sea,  by  Charles  Dick 
ens.     A  ilrong  dramatic  description. 


NUMBER  EIGHTEEN 


Ibsolution,  by  E.  Nesbit.  A  popular 
poem.     Uiamatic  aiiil  p.itbtnc. 

Appeal  for  Temperance,  by  Henry  W. 
tirady.  .\n  eloquent  addiess  on  the 
subjei  t  of  reinperance, 

Ballot  Reform,  by  Hon.  Grover  Cleve- 
land.    Oratorical. 

The  Blind  Man's  Testimony.    A  good 

Sund.iv-scbool  piece. 

The  Captain's  Well.  One  of  the  last 
poems  of  lohii  G.  Wbillier. 

Charity  Grinder  and  the  Postmaster 
General,  by  Mary  KsL-  Dallas.  A 
piipular  Inimori'US  selecti.m. 

Baniel  Periton's  Ride,  by  Judge  Tour- 
gee.  A  thrilling  incitlenl  of  the  great 
Johnstown  Hoo'd. 

The  Defense  of  the  Bride,  by  .\nna 
K.-ilherine  Green.  A  popular  dra- 
matic poem. 

The  Death  Bridge  of  tne  Tay,  by  Will 
Carleton.  I'.uhetic,  but  with  a  pleas- 
ing ending. 

The  Drunkard's  Daughter,  by  Eugene 
J.  Hall.  A  pathetic  temperance  selec- 
tion. 

The  Grand  Old  Day,  by  Will  Carleton. 
A  Thanksgiving  poem. 

Imph-m.  .-X  vtrv  |)opular  bit  of  Scotch 
(li.de.'t. 

tittle  Charlie's  Christmas.  Apathetic 
Christmas  story. 


The  Man  in  the  Moon,  by  James  Whit- 
comb  Riley.  A  quaint  hiiinoroua 
poem. 

Nathan  Hale,  the  Martyr  Spy,  bv  L  H, 
Brown.  .V  dramatic  incident  of  th^ 
Resolulionary  War. 

New  Year's  Hymn,  by  Frances  Ridley 
Havergal.  Good  for  New  Year's 
occasions. 

A  New  Series  of  Census  Questions. 
Yer\'  amusing. 

A  Packet  of  Letters,  by  Oliver  Hei  ford. 
.\  very  clever  humorous  poem. 

The  Pilgrims,  b\  Cliauncey  M.  Dcpew. 
.\n  i-liM|iicnt  tribute  to  our  forefathens. 

She  Liked  Him  Rale  Weel.  A  pleasing 
bit  of  Scotch  dialei-t. 

St.  Martin  and  the  Beggar,  by  Mar- 
garet E.  Sangster.  Good  for  Sunday- 
schools. 

Taste,  by  James  Whitcomb  Riley.  An 
excellent  encore  poem. 

Tobe's   Monument.      A  very  populai 

pathetic  selec  tion. 

Two  Christmas  Eves,  by  E.  Nesbit.    A 

pathetic  and  dramatic  poem. 
The  Volunteer  Organist,  In-  S.  W.  Foss. 

I'athelic  ami  very  popular. 
The  Whistling  Regiment,    b\-    James 
Clarence    llarxey.     Describes  an    in- 
cident ol  the  (■i\il  War,  inlroducing 
tne  sotig  of  "Annie  Laurie." 


NUMB1i:K    NlJNUiTEEN 


AMress  to  the  Toothache,  bv  Robert 
Bums.     Hiinuiious  ScoIlIi  diale^t. 

Ballad  of  the  Wayfarer,  by  Robert 
Buchanan.     Pathetic. 

Beware,  by  Henry  W.  Longfellow. 
Good  for  encore. 

Bridget  O'Flannagan.  Irish  dialect, 
being  a  discussion  on  Christian 
science  and  cockroaches. 

&  Dinner  Discussion.  A  humorous  in- 
cident of  carving  a  canvas-back 
duck. 

Divided,  by  Jean  Ingelow.  A  beau- 
tiful and  pathetic  descriptive  poem. 

A  Dream  of  Fair  Women,  by  Tennyson. 
An  extract  from  the  celebrated 
pueni. 

The  Drop  of  Water.     Verj-  dramatic. 

The  Dumb  Savior.  Excellent  for  use 
at  meetings  of  Societies  for  Preven- 
tion of  Cruelty  to  Animals. 

Gettin'  On.  An  old  man  characteriza- 
tion. 

Her  Laugh— in  Four  Fits.  A  good  en- 
core piece. 

How  Uncle  Podger  Hung  a  Picture,  by 
Jerome  K.leiotne.  A  capital  read- 
ina:,  very  aniu-^ing. 

In  Swanage  Bay,"  by  Dinah  Mulock 
Craik.     A  dramatic  description. 

Is  It  Worth  While,  by  Joaquin  Miller. 
An  instructive  poem. 


The  King's  Daughter.     A  hamotiai 

poem,  splendid  lor  King's  OatiE^nvaif' 
entertainments. 

The  Lady  of  Shalott,  by  Tennyson. 
Popular  with  the  best  readers. 

Lecture  by  the  New  Male  Star.  How 
a  woman  reporter  wrote  up  an  ac- 
count of  a  lecture,  humorous. 

Looking  for  Bargains.     Humorous. 

Midnight  in  London.  A  graphic  de- 
scription of  the  great  city  by  gas-light. 

A  Queer  Boy.     Humorous. 

Reuben  James.  A  patriotic  story  o< 
the  navy. 

The  Siege' of  the  Alamo.  The  story  o< 
the  Alamo  in  verse. 

The  Somerset  Folks.  A  good  encore 
piece. 

Swipsey's  Christmas  Dinner.  A  street 
gamin's  Clnislnias. 

The  Toboggan  Slide.      Very  amusing. 

The  Tola  of  Mustard  Seed,  by  Edwin 
Arnold.     Pathetic. 

A  Tragedy  in  the  Sunshine.  Very  dra- 
matic. 

Tray,  by  Robert  Browning.  Describes 
the  saving  of  a  child's  life  by  a  faith- 
ful dog. 

A  True  Bostonian  at  Heaven's  Gate. 
Encore. 

Twilight  at  Nazareth,  by  Joaquin  MU 
ler.     Good  for  Sunday-schools. 


NUMBER    TWENTY 


The  Fortunes  of   War.       A    pathetic 

storv  of  the  Civil  War. 
The  Survival  of  the  Fittest.    A  medley. 
Their  First  Spat.      A  young  couple's 

first  disagreement. 
The  Condensed  Telegram.    Humorous. 
A  Tale  of  Sweethearts,  by  George  R. 

Sims.     Good  for  impersonation. 
The  Obstructive  Hat  in  the  Pit.     An 

exceedingly    good    humorous    selec- 
tion. 
The    Doctor's    Story,   by   Bret   Haite. 

Pathetic. 
An  Early  Start.     Humorous. 
Wait  On.     A  stronu  s7)iritual  selection. 
He  Worried  About  It,  by  S.  VV.  Foss. 

Di'f)ll  humor. 
Getting  Acquainted.     Encore. 
Millais's  Huguenots.     A  pathetic  story 

of  the  eve  of  St.  Bartholomew's  mas- 
sacre. 
Judy  0' Shea  Sees  Hamlet.      An  Irish 

woman's  description  of  the  play. 
Me  and  Jim.   Western  characterization. 
Naughty  Kitty  Clover.      A  good  girl's 

piece. 
Boys  Wanted.     A  good  piece  for  boys. 
Bndget's    Soliloquy,    by    Mai->'    Kyle 

Dallas.     Irish  dialect. 
Josiah.     ('<iiiiiti\  (iiurting.     Encore 
Theophilus  Thistle 's  Thrusted  Thumb. 

Excellent    for  articulation   exercises. 
A  Day  in  the  Woods,  by  R.J.  Burdette. 

A  i^leasing  description. 


A  Rajput  Nurse,  by  Edwin  Arnold.  4 
very  dramatic  as  well  as  pathetit 
poem. 

Song  Without  Music.  A  superior  Ne- 
gro dialect  selection. 

Parental  Discipline.  A  humorous  de- 
scription of  an  incorrigible  boy. 

Halbert  and  Hob,  by  Robert  Browning. 
A  strong  dramatic  recitation. 

Not  in  the  Programme,  by  Edwin  Col- 
ler.  A  pathetic  incicieiit  in  the  lifeoJ 
an  actress. 

A  Poor  Rule.     Encore. 

Aunt  Phillis's  Guest.  A  good  Sunday- 
school  selection. 

Mrs.  Jones's  Revenge.  How  she 
failed  to  get  e\  en  with  her  liusband 
for  staying  out  late. 

Uncle  Noah's  Ghost.     Humorous. 

The  Festal  Day  Has  Come,  by  Hcze 
kiab  Buttciworth.     A  patriotic  l)oem. 

De  Quincy 's  Deed.      A  dramatic  poem 

Billy.  Humorous,  shows  up  the  pranks 
of  a  mischievous  boy. 

Coaching  the  Rising  Star.  A  travesty 
f)n  bow  some  modern  elocutionists 
train  their  puiiils. 

I  Will  Not   Leave    Tou    Comfortless 

Pathetic. 
Little   Busy  Bees.       How    a    popular 

young  man  was  fleeced   at   a  church 

fair. 
Skimpsey.    A  pathetic  story  of  a  lien* 

jockey. 


NUMBF.K    TWr.\TV-ONE 


An  Ola  Vote  (or  Young  Marster.    Nogro 

(li.ii.-.  t. 
Child  and  Mother,  by  ICiigeiie  Field. 

A  la  I  111  (ill  poem. 
Because.  Kikoic. 
Influence  After  Death.     A  very  good 

shiirt  <iei  laiii.itioii. 
Bill  Smith,  liy  Max  .Adicr.    Humorous. 
Thar  Was  Jim.      Good  for  iiupersoiia- 

tioTi. 
Overboard.    A  pathetic  description  of  a 

man  being  w.islied  overboard  at  sea. 
It.  Patrick's  Day.     Irish  dialect. 
A  Puzzle,  by  .Margaret  Kytinge.      Hu- 

con-. 
Nobody  Cares.      A  pleasing  little  pa- 

Uk-Ih'  poein. 
The  Old  Canteen,  by  H.  S.  Edwards. 

A  patbelic  iiu  idenl  of  two  brothers 

who  lake  different  sides   in   the  war. 
True  Courage  in  Life,  by  W.  li.  Chan- 

nins;.     .\  slioi  l  derlamalion. 
Woman's  Career.    Clever  liumor. 
Love  of  Country,  bv  1.  H.  Biown.     Di- 

d.n  tic. 

Sea  Weed.     A  fanciful  poem. 

From  the  Window.     Pathetic. 

Wearyin'  for  You,  by  F.  L.  Stanton. 
Pathetic. 

Two  Opinions,  by  Eugene  Field.  A 
pathetic  poem. 

Clive,  by  Robert  Browning.  Very  dra- 
matic and  exceedingly  popular. 

^ab;ss,  by  Jerome  K.  Jerome.  A  very 
amusing  extract  from  "  Idle  Thoughts 
of  an  Idle  P'ellow." 


Lydia's    Ride.       \ii    incident  of   tbt 

P.iilisli    o,  I  iipaliuii   (if    Philadelphia. 

The  Stranded  iiugie.  A  beautiiul  de- 
seription. 

Contentment,  by  Eva  Wilder  .McGlas- 
soii.      Ihe  lelleitions  of  a  lazv  man. 

Billows  and  Shadows,  by  Victor  Hugo. 
A  giajiliK-  piuM-  ilcM nptioii. 

Twoi  Gentlemen  of  Kentuc'iy,  by 
J.iines  Lane  .Vlleii.  Atlords  excellent 
opportunities  I.m  eharaL'teri/.ation. 

The  Cry  in  the  Darkness  -The  Senti- 
nel's Alarm.  .\  dramatic  incident  oi 
liiiHaii  li'.;lumg. 

The  Revenge,  b\  fennyson.  An  heroic 
poem. 

Intimations  of  Imtnortality.  Didac- 
tic. 

What  Else  Could  He  Do  ?    ICncoi  e. 

The  Benediction,  li\  l'"raii';ois  C.ippee. 
A  slidiig  diam.ilii:  recitalioii;  Jiiti'O- 
(hues  .1  (.bant. 

Winnie's  Welcome.     Irish  dialect. 

The  Mysteries  of  Life,  by  Chateau- 
hiiaiul.     .\  grind  declamation. 

The  Men  of  Gloucester,  bx  Laura  E. 
Richards.  Describes  the  rescue  of 
men  at  sea. 

An  Unregistered  Record.  Humorous, 
negro  dialect. 

Crossing  the  Bar.    One  of  Tennyson's 

last  and  most  beautiful  poems. 
A  Sisterly  Scheme,  by  H.  C.  Runner. 
How  a  vonnger  sister  supplanted  hei 
older  sister.     Very  popular. 


NU3IBER    TWENTY-TWO 


By  the  Alma,  by  James  Dawson.  .\ 
poem  of  Scotch  hcroisai. 

The  Deacon's  Week,  by  Rose  Terry 
Cooke.  A  splendid  selection  for  mis- 
sionarv  occasions 

Hilda's  Little  B.'Mrd,  by  Hjalmar 
Hiorth  Boyesen.  .V  most  acceptable 
recitation. 

Rural  Infelicity.  A  good  humorous 
prose  selection. 

A  Gowk's  Errant  and  What  Cam'  O't. 
Excellent  Scotch  dialect. 

The  Fate  of  Sir  John  Franklin.  A 
good  pie<  e  for  vocal  culture. 

Little  Black  Phil.  .\  patriotic  incident 
of  the  Ci\il  War. 

Marguerite.      A  Decoration  Day  story. 

Ihe  Old  Wife.     Pathetic. 

Not  Ashamed  of  Ridicule.  A  good 
dfclani.-ition. 

My  Vesper  Song.  Pathetic.  Parts  to 
be  s'lng. 

Teaching  a  Sunday-School  Class.  Hu- 
morous ;  a  young  lawyer's  first  ex- 
perience in  teaching  a  class  of  bovs. 

Mr.  Kris  Kringle,  by  Dr.  S.  Weir  Mit- 
I  hell.      A  beTiitiful  Chri-^tm-is  storv. 

The  Land  of  Nod,  by  Ella  Wheeler 
Wilcox.     A  fanciful  poem. 

nit  Mysterious  Portrait.     Humorous. 


The  Hunt.    An  inspiriling  extract  from 

••   riie  Love  Cha-e." 
A  Big  Enough  Family.      A  child  ira- 

personation. 
Joan  of   Arc's  Farewell.    A  thrilling 

fled  iniation 
The  Soul  of  the  Violin.     A  pathetic 

story  of  a  musician's  attachment  lo 

his  violin. 
My  Double  and  How  He  Undid  Me,  by 

Dr.  [{dwaid  ICverctt  Hale.     Humor. 

ous  .ind  ver\  popular. 
Fall  In.     .\  thrilling  jioem  for  G.  A.  R 

occ.isions. 

The  Teachor's  Diadem.    A  good  Sun- 

da\  school  selection. 
Lyric   of    Action,    by    Paul    Hamilton 

Havne.     An  instructive  declamation. 
Thanksgiving   Day.       A   pathetic 

Tbaiik'^giving  story. 
On  the  Other  Train.    A  very  pathetic 

prose  piece. 
Hagar.      A  dramatic  tlescription  of  th« 

departure  of  Hagar  to  the  desert. 
An  Easter  with  Parepa.    A  very  accep- 
table Easter  slory. 
Jock  Johnstone,  the  Tinkler.    A  catr 

ital  Scotch  dialed  poem. 
Hilda.     Draroatic  and  DatbeUc 


NUMBER    TWENTY-THKEK 


6aoy  of  theFuture.  Aimisin!; '^atiic. 
Benefits  of  the  Constitution,  1>>  IJaniel 

Webster.  Oratoiical  and  paliinlic. 
The  Chickadee,  b>   Sidney  Dayre.     Af- 

kiids  opiioiUinilies  to  use  bud   tones. 

Close  of  the  Battle  of  Waterloo,  by 
Vietor  Hu;<o.   FuUof  dramatic  power. 

Count  Gism'ond,  by  Robert  Browning. 
A  line  dramatic  poem. 

The  Dance  of  Death,  by  Sir  Walter 
Scott.  A  weird  description  of  a 
battle. 

Dead  Pussy  Cat.  A  child's  lament  in 
toniliini;  cliild  language. 

Sari  Sigurd's  Christmas  Eve,  by  Hjal- 
inar  Hioith  Boyesen.  Suitable  for 
Cliiistmas  occasions. 

iaster  Eve  at  Kerak-Moab,  by  Clinton 
Scoliard.  For  an  eflecti\e  recitation 
this  selection  is  excelled  by  few. 

Bxecution  of  Sydney  Carton,  by 
C  Ikh  les  Dickens,   liitenselv  dramatic. 

How  We  Kept  the  Day,  by  Will  Carle- 
ton.  Humorous  account  of  the  Glor- 
ious iMjurth  in  a  country  town. 

lufluence  of  Great  Actions,  b>'  Daniel 
Webster.     ()ralorical. 

My  Fountain  Pen,  by  Robert  J.  Bur- 
dette.     Huniuidus. 

How  I  Lay  Me  Down  to  Sleep.  A  beau- 
tiful paraphrase  on  this  familiar  pray"- 
er  found  in  a  soldier's  knapsack. 


Phoebe's  Exploit.  A  thrilling  descrip> 
tion  of  bow  a  \oung  gill  kept  a  train 
fioni  falling  inio  tile  hands  ol  tramps, 

Saunders  McGlashan's  Courtship, 
Scotch  humor,  vei\'  popular. 

Saved  by  a  Boy,b\  RobeitC.  V.Me\eis. 
Tells  of  a  niaii  sa\ed  fioni  temp- 
tation by  ccntact  w  ith  a  guileless  boy 

The  Storm  of  Delphi,  by  Mrs.  Himaiis. 
Fine  diamalic  poem. 

Suicide  ;  or,  The  Sin  of  Self-Destruc- 
tion,  by  Rev.  T.  De  W  itt  'I  alniage, 
v.  I>.  One  of  his  thrilling  and  graphic 
descriptions. 

The  Used  to-Be,  by  James  Whitcomb 
Rilc>.      A  tender  and   quaint  poem 

Warwick,  the  King-Maker,  by  Lord 
Bulwer  L)ttoii.  A  strong  prose  se- 
lection. 

What  Miss  Edith  Saw  from  Her  Win- 
dow, b>  Bret  Harte.  A  simple, 
tiuaint  CNpei  i<  ncc,  sweeth'  told. 

When   de  Eaikey  am  A-whistlin'  in 

de  Co'n.      Negro  dialect. 

When  I  Was  a  Boy,  by  Flugene  Field. 
A  pleasing  leminiscence  of  boyhood. 

When  the  Light  Goes  Out.  Gives 
kindly  suggestions,  in  touching  dia- 
lect language. 

Wreck  of  "The  Korthern  Belle,"  by 
Edwin  Arnold.     Dramatic. 


NUMBER  TWENTY-FOUR 


The  Art  of  Book-keeping,  by  Thomas 
Hood.  ;\n  exrccdingly  humorous 
and  ingenious  plav  iifioii  words. 

The  Ballad  of  Beau  Brocade.  b\-  Aii'^tin 
Dobson.  .-\  humorous  incident  of  the 
Seventeenth  Century. 

The  Battle  of  Bannockburn,  bv  Grace 
Aguilar.  Fine  description  of  a  bat- 
tle. 

The  Courting  of  T'nowhead's  Bell,  by 
James  M.  Barrie.  An  amusing  piose 
selection.     Scotch  dialect. 

Crime  Revealed  by  Conscience,  by 
Daniel  Webster.  A  line  oratorical 
selection. 

The  Death  of  Carver  Doone,  bv  R.  D. 
Blackinon-.     FxceedingK  dr.-imalic. 

Foreign  Views  of  the  Statue,  l>\  lied 
Emerson  Brooks.  Diflereiit  ide.is  of 
the  Statue  of  Liberty  as  expressed  by 
various  foreigners  on  their  arrival. 
Humorous. 

For  the  Slumber  Land,  Ho  !  A  very 
pretty  selection  in  verse. 

Getting  the  Right  Start,  by  J.  G.  Hol- 
land.    Declamatory. 

How  the  La  Rue  Stakes  Were  Lost. 
Describes  how  a  jockey  saved  the 
life  of  a  child  at  the  cost  of  the 
race. 

&n  Incident  of  the  French  Camp,  by 
Robert  Browning.  Pathetic  and  dra- 
•natic 


John  Brown's  Body,  b\  J  D.  Sherman 

lliiw  tile  scmg  iieiame  popular. 
Lament  of  the  Irish  Emigrant,  b\  Lady 

liuflerin.     Pathetic  Iri.'-h  dialect 
Miss  Eva's  Visit  to  the  Ogre.      \'er> 

pieasin^j  (  hild  cbaraclei  i/alion. 
The  Murder  ot  Kancy  Sykes,  b\  Charles 

Dickens.     Hi.ybly  diamatic. 
The  One  Legged  Goose,    by    F.   Hop- 

kinsoii    Smitii.      Amusing  darkey 

dialect. 

The  Organ  Tempest  of  Lucerne,  by 
Hezekiah  Buttcrworth.  A  stiongde- 
S(  1  i[)tion. 

Point  Sublime,  Colorado  Canon.  A 
description  of  the  beauties  of  the 
Ro(  kv  Momilains. 

The  School  Boys'  Strike,  by  R.  J.  6ui  ■ 
d<  tte.  All  exceedingly  humorous 
SI  !(■(  t  ion. 

Seein'  Things,  by  Eugene  Field  Child 
cbaiacteri/atioii. 

TheSpellin'  Bee  at  Angel's,  b\  Bret 
Haite.  Humorous  description  ol  a 
spelling  bee  among  the  cowbo\s. 

The  Stage-struck   Hero.     Humorous. 

The  Strike  at  Colchester.  The  inci- 
dent is  that  ol  a  strike  organized  by  a 
women's  rights  club.  \'trv  laughable. 

A  Tribute  to  Our  Honored  Dead,  by 
Henry  Ward  Beeeber.  A  strong  era 
toiical  selertidii 

Washington  to  His  Troops.  ApatrisUi' 
declamation. 


Best  Things  from 

Best  Authors 

Volumes  I  to  8  Now 
Issued 

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Each  volume  is  composed  of  three  numbers  of  Shoe- 
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comprising  the  latest  and  best  productions  of  the  most 
popular  English  and  American  writers  of  to-day, 
together  with  the  choicest  selections  of  standard 
literature. 

The  volumes  are  so  arranged  with  indexes  and  classi- 
fications of  selections,  authors,  etc.,  as  to  make  this  not 
only  one  of  the  most  valuable  collections  of  choice 
readings  ever  published,  but  one  of  the  most  complete 
as  a  work  of  ready  reference. 

They  are  eminently  suited  to  school-room  purposes, 
for  use  as  readers  or  supplementary  readers,  or  will  make 
a  most  desirable  addition  to  the  library  of  any  public 
reader,  speaker,  or  teacher. 

Sold  by  all  booksellers,  or  sent,  prepaid,  upon  receipt 
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Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


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MAR  2  3 1989 

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